HENRY R.BLANE/ 


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THE  S.  fr  A. 
HOTOQR/lPmC 
SCRIES. 


Edited  by 
W.  I.  LINCOLN   ADAMS. 


No.     i.     THE  PHOTOGRAPHIC  AMATEUR. 

By  J.  TRAILL  TAYLOR.  A  Guide  to  the  Young  Photographer,  either  Pro- 
fessional or  Amateur.  (Second  Edition.)  Paper  covers $o  50 

No.     4.     HOW  TO  MAKE  PICTURES. 

By  HENRY  CLAY  PRICE.  (Fourth  Edition.)  The  A  B  C  of  Dry-Plate  Pho- 
tography. Out  of  print.  (See  No.  26) 

No.     5.     PHOTOGRAPHY  WITH  EMULSIONS. 

By  Capt.  W.  DE  W.  ABNEY,  R.E.,  F.R.S.  A  treatise  on  the  theory  and 
practical  working  of  Gelatine  and  Collodion  Emulsion  Processes.  (Second 
Edition.)  Paper  covers 75 

No.  7.  THE  HODERN  PRACTICE  OF  RETOUCHING. 

As  practiced  by  M.  Piquepe,  and  other  celebrated  experts.  (Eighth  Edi- 
tion.) Paper  covers,  50  cents  ;  Library  Edition  75 

No.     8.     THE  SPANISH  EDITION  OF  HOW  TO  MAKE  PICTURES. 

Ligeras  Lecciones  sobre  Fotografia  Dedicados  a  los  Aficionados,  Cloth 
bound,  75  cents.  Paper  covers 50 

No.     9.  Out  of  print. 

No.   12.     HARDWICH'S  PHOTOGRAPHIC  CHEMISTRY. 

A  manual  of  Photographic  Chemistry,  theoretical  and  practical.  (Ninth 
Edition  )  Edited  by  J.  TRAILL  TAYLOR.  Leatherette  binding 2  oo 

No.  13.     TWELVE  ELEMENTARY  LESSONS  ON  SILVER  PRINTING. 

(Second  Edition.)     Paper  covers  50 

No.  14.     ABOUT  POTOGRAPHY  AND  PHOTOGRAPHERS. 

A  series  of  interesting  essays  for  the  studio  and  study,  to  which  is  added 
European  Rambles  with  a  Camera.  By  H.  BADEN  PRITCHARD,  F.C.S. 
Paper  covers,  50  cents.  Cloth  bound  75 

No.  15.  THE  CHEMICAL  EFFECT  OF  THE  SPECTRUM. 

By  Dr.  J.  M.  EUER.     Cloth  bound,  50  cents.     Paper  covers 25 

No.  1 6.     PICTURE  MAKING  BY  PHOTOGRAPHY. 

By  H.  P.  ROBINSON,  author  of  Pictorial  Effect  in  Photography.  Written 
in  popular  form  and  finely  illustrated.  Library  Edition,  $1.00.  Paper 
covers  75 

No.  17-     FIRST  LESSONS  IN  AMATEUR  PHOTOGRAPHY. 

Out  of  print.    (See  Amateur  Photography,  by  W.  I.  LINCOLN  ADAMS.) 

No.  30.     DRY  PLATE  MAKING  FOR  AMATEURS. 

By  GEORGE  L.  SINCLAIR,  M.D.  Pointed,  practical  and  plain.  Leatherette 
binding 50 


The  S.  &  A.  Photographic  Series. 

No.  21.    THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALHANAC  FOR  1887. 

(Second  Edition.)    Paper  cover  (postage,  12  cents  additional) $o  50 

Library  Edition  (postage,  12  cents  additional) I  oo 

No.  22.     PHOTOGRAPHIC  PRINTING  METHODS. 

By  the  Rev.  W.  H.  BURBANK.  A  Practical  Guide  to  the  Professional  and 
Amateur  Worker.  Cloth  bound.  (Third  Edition) i  oo 

No.  23.     A  HISTORY  OF  PHOTOGRAPHY. 

Written  as  a  practical  guide  and  an  introduction  to  its  latest  developments. 
By  W.  JEROME  HARRISON,  F.G.S.,  and  containing  a  frontispiece  of  the 
author.  Cloth  bound i  oo 

No.  24.     THE  AJ1ERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALHANAC  FOR  1888. 

Illustrated.  (Second  Edition.)  Paper  (by  mail,  12  cents  additional)  50 
Library  Edition  (by  mail,  12  cents  additional) I  oo 

No.  25.    THE  PHOTOGRAPHIC  NEGATIVE. 

A  Practical  Guide  to  the  Preparation  of  Sensitive  Surfaces  by  the  Calotype, 
Albumen,  Collodion,  and  Gelatine  Processes,  on  Glass  and  Paper,  with 
Supplementary  Chapter  on  Development,  etc.,  by  the  Rev.  W.  H.  BURBANK. 
Cloth  bound.  Reduced  from  $1.50  to I  oo 

No.  26.     THE  PHOTOGRAPHIC  INSTRUCTOR  FOR  THE 
PROFESSIONAL  AND  AMATEUR. 

Being  the  comprehensive  series  of  Practical  Lessons  issued  to  the  Students 
of  the  Chautauqua  School  of  Photography.  Revised  and  enlarged.  Edited 
by  W.  I.  LINCOLN  ADAMS,  with  an  Appendix  by  Prof.  CHAS.  EHRMANN. 

(Fourth  Edition,  enlarged  and  revised.)     Paper  covers I  oo 

Library  Edition i  50 

No.  27.  LETTERS  ON  LANDSCAPE  PHOTOGRAPHY. 

By  H.  P.  ROBINSON.  Finely  illustrated  from  the  author's  own  photographs 
and  containing  a  Photogravure  frontispiece  of  the  author.  Cloth  bound. 

<  50 

No.  29.    THE  PROCESSES  OF  PURE  PHOTOGRAPHY. 

By  W.  K.  BURTON  and  ANDREW  PRINGLE.  A  standard  work,  very  complete 
and  freely  illustrated.  Price,  in  paper  covers,  $2  oo.  Library  Ed.,  2  50 

No.  30.     PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  ROBINSON.  A  new  edition.  Illustrated.  Mr.  Robinson's  first 
and  best  work.  Cloth  bound i  50 

No.  32.     PRACTICAL  PHOTO-MICROGRAPHY. 

By  ANDREW  PRINGLE.     Fully  illustrated.    Cloth  bound 2  50 

No.  33.    THE  AHERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALHANAC  FOR  1890. 

Paper  cover  (by  mail,  14  cents  additional) 50 

Library  Edition  (by  mail,  14  cents  additional) i  oo 

No.  34.     THE  OPTICAL  LANTERN. 

Illustrated.     By  ANDREW  PRINGLE.     Paper  covers,  $1.00. 

Cloth  bound i  50 

No.  35.     LANTERN  SLIDES  BY  PHOTOGRAPHIC  METHODS. 

By  ANDREW  PRINGLE.     Paper  covers  75  cents.     Cloth  bound i  25 

No.  36.    THE  AHERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TINES  ALHANAC  FOR  1891. 

Paper  covers  (by  mail,  15  cents  additional) 50 

Library  Edition  (by  mail,  15  cents  additional) i  oo 

Cyclopaedic  Index  for  1 891  Annual ,    i  o 


The  S.  &  A.  Photographic  Series. 

No.  37.     PHOTOGRAPHIC  OPTICS. 

A  Text-Book  for  the  Professional  and  Amateur.  By  W.  K.  BURTON. 
Paper  covers,  $i .00.  Library  Edition $i  50 

No.  38.     PHOTOGRAPHIC  REPRODUCTION  PROCESSES. 

Illustrated.     By  P.  C.  DUCHOCHOIS.     Paper  covers,  $1.00.     Cloth...    150 
No.  39-     EL  INSTRUCTOR  FOTOGRAFICO. 

Paper  covers,  $ i .00.     Library  Edition I  50 

No.  40.     THE  AflERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIJIES  ALHANAC  FOR  1892. 

Out  of  print. 
No.  41.     THE  CHEMISTRY  OF  PHOTOGRAPHY. 

By  W.  JEROME  HARRISON.     Cloth  bound 3  OO 

No.  42.     PICTURE  flAKING  IN  THE  STUDIO. 

By  H.  P.  ROBINSON.  Paper  covers,  50  cents.  Cloth  bound  (Library 
Edition) i  oo 

No.  43.    THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALMANAC  FOR  1893. 

Edited  by  W.  I.  LINCOLN  ADAMS. 

Paper  covers  (postage  extra,  15  cents) 50 

Cloth  bound  (Library  Edition)  (postage  extra,  15  cents) I  oo 

No.  44.    THE  LIGHTING  IN  THE  PHOTOGRAPHIC  STUDIO. 

By  P.  C.  DUCHOCHOIS.  A  new  edition.  Paper  covers,  75  cents.  Cloth 
bound  (Library  Edition) i  oo 

No.  45-    THE  GRAMMAR  OF  PHOTO-ENGRAVINQ. 

By  H.  D.  FARQUHAR.  Illustrated.  The  most  complete  text-book  yet  pub- 
lished on  this  subject.  Price,  in  paper  covers,  $2.00.  Cloth  bound 
(Library  Edition) 250 

No.  46.     INDUSTRIAL  PHOTOGRAPHY. 

Illustrated.  By  P.  C.  DUCHOCHOIS.  Being  a  description  of  the  various 
processes  of  producing  Indestructible  Photographic  Images  on  Glass,  Por- 
celain, Metal,  and  many  other  substances.  Paper  covers,  50  cents.  Cloth 
bound i  oo 

No.  47.    THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALMANAC  FOR  1894. 

Edited  by  W.  I.  LINCOLN  ADAMS. 

Paper  covers  (postage  extra,  15  cents) 50 

Cloth  bound  (Library  Edition)  (postage  extra,  15  cents) I  oo 

No.  48.     ARISTOTYPES  AND  HOW  TO  MAKE  THE/I. 

Giving  a  complete  description  of  the  manufacture  and  treatment  of  Gelatino 
and  Collodio-Chloride  Papers.  By  WALTER  E.  WOODBURY.  Illustrated. 
Paper  covers,  $1.50.  Library  Edition 2  oo 

No.  49.    THE  ENCYCLOP/EDIC  DICTIONARY  OF  PHOTOGRAPHY, 

Containing  over  2,000  references  and  about  400  illustrations.  By  WALTER 
E.  WOODBURY.  In  press. 

No.  50.     THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALHANAC  FOR  1895. 

With  over  200  illustrations      In  paper  covers.     Postage  extra 50 

Cloth  bound.     (Library  Edition.)     Postage  15  cents  extra I  oo 

No.  5".     THE  PHOTO=GRAVURE  PROCESS. 

By  HENRY  R.  BLANEY,     A  very  complete  and  practical  book,  written  by  an 
Expert.      In  paper  covers,  50  cents.     Cloth  bound  (Library  edition),     i  oo 
For  sale  by  all  dealers  in  Photographic  goods,  booksellers,  and  sent,  post-paid,  on  receipt  of  price,  by  the 
publishers, 

THE   SCOVILL  &,   ADAMS   COMPANY  OF  NEW  YORK, 

SEND    FOR    BOOK   CATALOGUE.  423    BROOM  E    STREET. 


A  Selected  List  of  Books 

From  the  SCOVILL  &  ADAMS  Co.'s  BOOK  CATALOGUE. 


Amateur  Photography.  Copy** 

A  Practical  Guide  for  the  Beginner.  By  W.  I.  LINCOLN  ADAMS.  Illustrated.  Paper  covers,  50c. ; 
cloth  bound $100 

Lantern  Slides  and  How  to  Make  Them, 

By  A.  R.  DRESSER.     A  new  book,  very  complete  and  practical 25 

Photography  at  Night. 

By  P.  C.  DUCHOCHOIS.     Illustrated.     108  pp.     Paper  covers 100 

Bromide  Paper  and  How  to  Use  It. 

Written  by  an  Expert,  with  a  specimen  Bromide  illustration 26 

The  Knack. 

Written  expressly  to  help  the  beginner  in  perplexity,  reduced  to 25 

Photographic  Lenses;  Their  Choice  and  Use. 

By  J.  H.  DALLMEYER.     A  special  edition,  edited  for  American  photographers.     In  paper  covers        25 

The  Chemistry  of  Photography. 

By  Prof.  RAPHAEL  MELDOLA 2  00 

The  Photographic  Image. 

By  P.  C.  DUCHOCHOIS.  A  Theoretical  and  Practical  Treatise  on  Development.  Paper  covers.. .  1  50 
Cloth  bound 200 

The  Ferrotyper's  Guide. 

For  the  ferrotyper,  this  is  the  only  standard  work.     Seventh  thousand 75 

The  Photographic  Studios  of  Europe. 

By  H.  B  \DEM  PRITCHARD,  F.C.S.     Cloth  bound,  8 1.00 ;  paper  covers 60 

Art  of  Making  Portraits  in  Crayon  on  Solar  Enlargements. 

(Third  edition.)     By  E.  LONG 100 

History  and  Hand-Book  of  Photography. 

With  seventy  illustrations.     Cloth  bound,  reduced  to 50 

Crayon  Portraiture. 

Complete  instructions  for  making  Crayon  Portraits  on  Crayon  Paper  and  on  Platinum,  Silver  and 
Bromide  Enlargements;  also  directions  for  the  use  of  Transparent  Liquid  Water  Colors,  and  for 
making  French  Crystals.  By  J.  A.  BAKHYDT.  A  new  edition.  Paper  covers,  60c. ;  cloth  bound  1  00 

Art  Recreations. 

Ladies'  popular  guide  in  home  decorative  work,  with  a  chapter  on  photography.  Edited  by  MARIOV 
KEMBLE 1  00 

American  Carbon  Manual. 

For  those  who  want  to  try  the  carbon  printing  process,  this  work  gives  the  most  detailed  information. 
Clothbound.  Reduced  to 60 

Manual  de  Fotografia. 

By  AUGUSTUS  LE  PLONGEON.     (Hand-book  for  Spanish  Photographers.) 1  00 

Secrets  of  the  Dark  Chamber. 

By  D.  D.  T.  DAVIE 50 

The  Photographer's  Book  of  Practical  Formulas. 

Complied  by  Dr.  W.  D.  HOLMES,  Ph.B.,  and  E.  P.  GRISWOLD.  Paper  covers,  reduced  from  75c.  to 
30c. ;  cloth  bound,  reduced  from  (1.50  to CO 

American  Hand  Book  of  the  Daguerrotype. 

By  S.  D.  HUMPHREY.  (Fifth  edition.)  This  book  contains  the  various  processes  employed  in  taking 
heliographic  impressions , 25 


AN  ANNOUNCEMENT! 


made  arrangements  with  the  NEW  YORK  PHOTOGRAVURE 
COMPANY  by  which  we  are  enabled  to  offer  a  series  of  magnifi- 
cent Photogravures  at  a  very  low  price. 

The  first  is  that  which  has  been  already  published  and  described  by 
us,  being  the  "  COURT  OF  HONOR''  at  the  World's  Fair.  The  com- 
panion to  this  is  in  preparation,  and  will  shortly  be  ready.  It  represents 
a  view  of  the  "ADMINISTRATION  BUILDING  AND  COURT  OF 
HONOR,"  looking  up  from  the  Peristyle.  These  two  pictures  form  a 
magnificent  souvenir  of  the  World's  Fair,  and  imperishable  ones,  which 
have  not  been  approached  in  artistic  or  technical  excellence.  Each 
measures  about  18  x  22  inches,  and  they  are  printed  in  the  best  style,  on 
paper  24  x  32  inches. 

The  next  two  pictures  are  photogravures  from  negatives  made  by 
Mr.  JOHN  E.  DUMONT,  of  Rochester,  and  form  admirable  companion 
pictures.  Their  titles  are,  "NO  DOUBT,"  and  "IN  DOUBT,"  and 
represent,  in  one  case,  a  monk  with  a  winning  hand  of  cards,  and  hav- 
ing no  doubt  what  his  play  is  to  be.  In  the  other,  a  monk  holding  a 
hand  of  cards  which  evidently  is  a  losing  one,  and,  as  evidently,  he  is 
in  doubt  as  to  what  to  play. 

The  story  of  these  pictures  is  admirably  told,  and  with  all  the  well 
known  skill  of  Mr.  DUMONT. 

The  next  in  the  series  is  a  "  LANDSCAPE  WITH  SHEEP,"  by 
Mr.  ROBERT  S.  REDFIELD,  of  Philadelphia,  and  can  well  pass  for  a  repro- 
duction of  a  painting  by  VERBECK  HOVEN,  not  that  it  is  in  any  sense  a 
copy  of  any  picture,  being  entirely  original,  but  in  sentiment  and  feel- 
ing equaling  the  best  and  most  artistic  work  of  the  painter.  As  a  com- 
panion to  this,  "A  STORM  AT  BRIGHTON"  is  published.  This 
was  one  of  the  prize  pictures  at  the  recent  exhibition  of  the  joint  Socie- 
ties of  Amateur  Photographers  of  Boston,  Philadelphia  and  New  York. 
It  is  exceedingly  effective  as  a  study  of  cloud  and  motion  of  water,  and 
forms  an  admirably  suggestive  study  for  artists.  It  is  from  a  negative 
by  Mr.  ERNEST  EDWARDS,  President  of  the  New  York  Photogravure 
Company. 

The  well-known  picture  of  "  Flirtation  "  has  also  been  engraved  for 
this  series,  and  will  be  very  popular.  This  picture  (it  will  be  remem- 
bered) appeared  in  the  American  "Annual  of  Photography  "  for  1892. 

With  the  exception  of  the  two  first,  all  these  pictures  measure  about 
1 6  x  12  inches  for  size  of  work,  and  are  printed  on  etching  paper,  22  x  26 
inches. 

The  uniform  price  of  all  is  $2.00  each.     For  sale  by  all  dealers. 

Other  subjects  will  follow,  from  time  to  time. 

These  Photogravures  will  be  sent,  post-paid,  by  mail,  carefully 
packed,  on  receipt  of  price. 

THE  SCOVILL  &  ADAMS  COMPANY. 


Twelve  :  Photographic :  Studies 

THE  THIRD  EDITION. 

A  Collection  of  Photogravures  from  the  Best  Representative  Photographic 
Negatives  by  Leading  Photographic  Artists. 


COMPILED  BY  W.  I.  LINCOLN  ADAMS. 


THE  COLLECTION  INCLUDES. 

"Dawn  and  Sunset,"  ........       H.  P.  Robinson. 

'-'  Childhood,"         ........          -    H.  McMichael. 

"As  Age  Steals  On,"  ........  J.  F.  Ryder. 

"A  Portrait  Study,"        ........         B.  J.  Falk, 

"Solid  Comfort,"          ........    John  E.  Dumont. 

"Ophelia,"  .........  H.  P,  Robinson. 

''No  Barrier,"    -  ......        F.A.Jackson. 

"ElCapitan,"        .........  W.H.Jackson. 

"Still  Waters,"  .-.-.--•         -J.J.Montgomery. 

"Surf,"        ....-----  James  F.  Cowee 

"  A  Horse  Race."         .-...--.        George  Barker. 
"  Hi,  Mister,  may  we  have  some  Apples  ?"    -----    Gho.  B.  Wood, 

Printed  on  Japan  Paper,  Mounted  on  Boards.     Size,  11x14,  in  ornamen- 

tal Portfolio  and  a  Box.     Price,  $3,00. 
Sent,  post-paid,  on  receipt  of  price,  by 

The  Scovill  &  Adams  Company. 


FROM  NATURE.  Representing 

The  Four  Seasons. 


TT7 

dlfe 


HESE  PLATES  were  made  from  photographs  taken  direct  from 
nature.  They  have  been  most  beautifully  reproduced  by  the 
highest  grade  (copper-plate)  process  of  the  New  York  Photo- 
gravure Company.  The  plates  measure  6x8  inches,  but  are  printed  on 
extra  heavy  plate  paper  11x14  inches  in  size.  Each  picture  is  printed 
in  a  tint  especially  appropriate  for  the  season  which  it  represents,  and 
the  entire  set  of  photogravures  are  in  every  way  worthy  of  framing. 

The  negatives  were  photographed  from  nature  by  Mr.  W.  I.  LINCOLN 
ADAMS,  and  they  have  been  enthusiastically  praised  wherever  shown. 

What  GEORGE  INNESS,  America's  greatest  landscape  painter,  says  of 
these  photogravures  : 

"  They  are  very  charming,  and  should  prove  extremely  useful 
in  the  development  of  the  landscape  art  of  our  country." 

They  are  sold  singly  or  in  sets. 
Price,  per  copy  .......................................................  $o  50 

The  Set  of  Four  .....................................................  i  50 

Sent,  post-paid,  to  any  address,  on  receipt  of  price,  by 

The  Montclair  Photogravure  Publishing  Company, 

MONTCLAIR,    N.  J. 


THEODORE  METCALF  CO. 

Chemicals  • 


Fine,  "Rare  and  Crude,  of  every  description. 

* 

From  the  many  years  we  have  dealt  in  this  class  of  sup- 
plies, we  claim  to  be  leaders  in  this  branch  of  the  drug- 
trade,  and  by  constantly  replenishing  and  increasing  our 
stock,  and  at  once  procuring  or  manufacturing  all  new 
chemical  products,  we  are  able  to  do  full  justice  to  all 
orders. 

:  Pure  Chemicals  : 

FOR  PHOTOGRAPHIC  AND  PROCESS  WORK. 

Bromide  of  Potassium. 

Bichromates. 
Ammonium,  Potassium  and  Sodium. 

Powdered   Dragon   Blood,    Light  Colored   and 
Dark. 

Metcalf  Powdered  Bitumen  of  Judea. 


Syrian  Asphaltum. 
Benzole,  Chemically  Pure, 

By  Can  or  Barrel. 

Etc.,  Etc.,  Etc. 

Boston,      -      -      -      U.  S.  A 


THE  GRAMMAR  OF  PHOTO-ENGRAVING. 


BY  H.  D.  FARQUHAR. 


(Number  Forty-five  of  the  Scovill  Photographic  Series.) 


CONTAINING    INSTRUCTION    IN 


Drawing,  Chemistry  and  Optics,  as  applied  to  Photo-  Engraving. 


HALF-TONE,  ZINC  ETCHING,  SWELLED  GELATINE,  LITHOTYPE  AND 

CHALK  PLATE  ENGRAVING,  AS  PRACTICED  IN  THE 

UNITED  STATES. 


ILLUSTRATED. 


rr^HE  object  of  this  book  is  to  present  to  the  constantly  increasing 
JL  number  of  persons  seeking  after  practical  knowledge  in  the  art  of 
process  engraving,  a  comprehensive  and  totally  reliable  text-book.  The 
book  has  been  written  with  a  view  to  instruct  the  amateur  as  well  as  the 
professional,  and  the  writer  has  always  had  in  mind  the  beginner, 
counting  no  detail  too  trivial  to  be  fully  described. 

It  has  been  written  for  the  most  part  in  the  leisure  hours,  after  prac- 
tical service  during  the  day  in  a  photo-engraving  establishment,  so  that 
the  instruction  goes  directly  from  the  shop  to  the  pupil.  It  has  been 
the  author's  hope,  in  writing  this  book,  to  so  carefully  describe  every 
branch  of  work  connected  with  the  subject,  that  the  beginner,  who  knows 
absolutely  nothing  about  it,  may  become  a  practical  photo-engraver 
from  a  careful  reading  of  the  work. 


CONTENTS: 


Chapter  I.  —  Drawings  for  Photographic 
Reproduction.  The  iMaterials  Required. 

Chapter  II.—  Chemicals  used  in  Photo-En- 
graving. 

Chapter  III.—  Apparatus  and  the  Work- 
shop. 


Chapter   IV.—  Photographic 

-Engravings. 


Processes  as 

Employed  in  Photo-Engravings.  Prep- 
aration of  the  Chemicals. 

Chapter  V.  —  Causes  of  Failure.    Remedies. 

Chapter  VI.  -  The  Half-Tone  Process 
Screen  Plates. 


Chapter  VII.— Zinc  Etching.    Preparation 

of  Chemicals  Used  in  Zinc  Etching. 
Chapter  VI  H.-Etching  in  Half-Tone. 
Chapter  IX.— Blocking  and  Finishing. 

Tools  and  Materials. 
Chapter  X.— Swelled   Gelatine   Process  of 

Photo-Engraving. 
Chapter    XI. — Lithotype     Engraving     for 

Color  Work. 
Chapter   XII. -Photographing    on    Wood. 

and  Other  Processes. 


Price,  in  paper  covers $2  oo 

cloth  bound  (Library  Edition) 2  50 

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^PHOTOGRAVURE, 


BY 

HENRY  R.  BLANEY. 


With  Introduction  and  Additions  by  the  Editor. 


NEW  YORK : 
THE  SCOVILL  &  ADAMS  COMPANY. 

1895. 


Copyright,  1895, 
THE  SCOVILL  &  ADAMS  COMPANY. 


CONTENTS. 


INTRODUCTION  BY  THE  EDITOR. — Early  History  of  Photogravure — 

Woodbury's  Process— Other  Methods,      -  -          5 

CHAPTER  I.— The  Negative.— Quality  best  Suitable.— Necessity 
for  Reversing. — Methods  of  Obtaining  Reversals. — ThePowder 
Process,  -  -  ft 

CHAPTER  II.— The  Transparency.— The  Carbon  Process.— Cutting 
up  the  Tissue. — Sensitizing. — Drying. — Exposing — Continu- 
ing Action  of  Light.— Development.— Carbutt's  Transparency 
Plates,  -  15 

CHAPTER  III. — The  Carbon  Tissue. — Sensitizing  and  Exposing. — 

The  Actinometer,     -  22 

CHAPTER  IV.— Cleaning  and  Graining  of    the   Copper    Plate.— 

Grade  of  Copper  Necessary. — Where  and  How  to  Buy  it,       -        25 

CHAPTER  V.— Development  of  Negative   Resist  on  the  Copper 

Plate.— Preparation  for  Biting  with  Acid  through  the  Gelatine,        29 

CHAPTER  VI.— The  Acid  Baths.— How  to  Make  Them  and  Method 

of  Biting  through  the  Gelatine,     -  -        32 

CHAPTER  VII.— Cleaning  and  Polishing  the    Plate,  with    Tools 

Necessary  for  Retouching,  .  -        37 

CHAPTER  VIII.— Printing  from  the  Plate.— Steel  Facing,  -        39 

CHAPTER  IX. — Materials    Necessary   for    Photogravure — List    of 

Firms  Supplying  Them,     -  -        41 

CHAPTER  X.— Books  and  Articles  on  Photogravure,  1888-1893,      -        44 


INTRODUCTION. 


A  ROUT  the  year  1820  Nicephore  Niepce  made  the  discovery 
that  bitumen,  under  certain  conditions,  was  sensitive  to  light. 
He  dissolved  it  in  oil  of  lavender,  and  spread  a  thin  layer  of 
the  solution  thus  obtained  upon  stone.  This  he  exposed  under 
a  drawing  (making  the  paper  transparent  by  waxing),  and 
after  sufficient  exposure,  oil  of  lavender  was  poured  on. 
Those  portions  of  the  bitumen  which  had  been  exposed  to 
the  action  of  the  light  had  become  insoluble,  and  so  remained 
while  the  lines  which  had  been  protected  by  the  drawing 
were  dissolved  away.  By  treating  the  stone  with  an  acid 
these  lines  were  bitten  or  eroded,  and  could  be  printed  from. 
Niepce  afterward  employed  metal  plates  instead  of  the  stone. 

Here  we  have  the  foundation  for  a  number  of  printing 
processes  of  the  present  day,  including  photogravure. 

For  many  years,  however,  progress  in  processes  for  intaglio 
printing  was  very  slow.  In  1852  Talbot  introduced  a  pro- 
cess termed  photoglyphy,  and  in  1854  Paul  Pretsch,  of  Vienna, 
patented  a  process  which  he  termed  photogalvanography. 
In  1870  the  late  Walter  B.  Woodbury,  inventor  of  the  Wood- 
bury  type  process,  suggested  to  M.  Rousselon,  of  M.  M.  Gou- 
pil  &  Co.*  a  process  which  he  had  discovered,  and  which  he 
describes  f  as  follows  : 

"  The  method,  as  perhaps  many  of  your  readers  know, 
is  based  on  the  fact  that  some  pigments  used  in  carbon 

*  Now  Boussod,  Valadon  et  Cie. 
+  British  Journal  Almanac,  1874. 


6  INTRODUCTION. 

printing  have  an  unpleasant  habit  of  granulating  when 
mixed  with  gelatine  and  bichromate,  destructive  to  their 
use  in  carbon  printing  and  Woodburytype,  but  bearing 
the  essence  of  success  in  an  engraving  process  where 
grain  is  necessary.  The  origin  of  this  method  was  simply 
owing  to  my  getting  some  bad  reliefs,  in  which  this  effect 
was  first  noticed.  Out  of  this  arose  the  photo-engraving 
process  which,  as  I  said  before,  is  now  claimed  as  the  inven- 
tion of  a  Frenchman.  But  I  am  digressing. 

This  relief,  possessing  a  suitable  grain,  could,  by  hydraulic 
pressure,  be  made  to  transfer  its  minutest  details  to  metal 
without  any  loss  to  fineness,  so  giving  a  plate  possessing  all 
the  properties  of  a  mezzotint.  The  methods  hitherto 
used  of  electrotyping  would  have  proved  useless,  as  all 
detail  would  have  been  lost.  The  same  thing  applies  to 
the  new  method  I  am  now  about  to  bring  before  your 
readers.  The  latter  process  of  getting  the  grain  transferred 
to  a  hard  metal  remains  the  same  ;  but  the  novelty  is  in  the 
method  of  producing  the  grained  plate.  To  those  who  have 
practiced  the  process  of  enameling,  as  used  by  Geymet  and 
Alker,  and  others,  my  description  will  be  better  understood. 

"  I  first  coat  a  thin,  polished  steel  plate  (zinc  will  answer) 
with  a  very  thin  coating  of  gum,  glucose,  and  bichromate  as 
used  for  enameling.  This  I  dry  rapidly,  and,  while  still 
warm  and  desiccated,  expose  under  a  glass  positive.  On  re- 
moval from  the  frame  after  exposure  the  plate  is  made  to 
take  up  a  slight  amount  of  moisture  by  breathing  on  it. 

"  During  this  stage  I  brush  or  dust  over  it  any  hard  pow- 
der, such  as  emery,  powdered  glass,  etc ,  but  these  I  keep  of 
different  degrees  of  fineness  or  coarseness.  No.  i,  is  of  a 
coarse  quality,  and  is  used  first ;  No.  2  is  finer  ;  and  No.  3  is 
of  the  finest  grain  obtainable.  These  are  obtained  by  pass- 
ing through  muslin  of  different  degrees  of  fineness.  Having 
in  the  first  stage  of  moisture  used  the  No.  i,  or  coarsest, 


INTRODUCTION.  7 

powder,  after  a  time  No.  2  is  dusted  over  and  adheres  to  the 
middle  tints,  while  the  very  finest  tones,  which  have  almost 
lost  their  sticky  qualities  by  the  exposure  to  light,  are 
treated  to  No.  3. 

"  Now  we  possess  a  granular  picture  having  all  the  true 
qualities  required  in  a  photo-engraved  plate,  or,  rather, 
such  as  will  give  a  reverse  in  metal  having  these  qualities. 
The  steel  or  zinc  plate  is  then  to  be  exposed  to  light  to 
completely  harden  the  mixture  all  over,  and  is  then  treated 
exactly  as  in  my  other  engraving  process  ;  that  is,  pressed 
into  soft  metal  by  hydraulic  pressure,  electrotyped,  and  then 
the  surface  is  aciercised  or  coated  with  steel.  The  dark 
parts  are  thus  represented  by  a  coarse  grain,  the  middle  tints 
by  a  medium  grain,  and  the  finest  shades  by  the  most  infini- 
tesimal particles,  thus  meeting  all  requirements  necessary  to 
a  successful  photo  engraving  process." 

This  process  was  taken  up  by  a  Frenchman  and  claimed  by 
him  as  his  own  invention.  The  chief  difficulty  with  it  was 
that  the  plates  before  being  perfect  require  the  work  of  a 
skillful  engraver,  sometimes  for  weeks.  They  were  there- 
fore very  costly,  six  dollars  per  square  inch  being  charged 
for  the  making  of  the  plate  alone. 

Klic's  process,  1886,  was  the  next  important  improvement 
in  photogravure  or  intaglio  printing,  and  since  then  many 
other  processes  and  improvements  have  been  introduced  by 
Obernetter,  Waterhouse,  Colls,  Zuccato,  Sawyer  and  others. 

In  the  following  chapters  Mr.  H.  R.  Blaney  gives  a  work- 
ing description  of  the  process  as  practiced  to-day  by  many 
of  the  leading  firms  in  this  and  other  countries.  This  orig- 
inally appeared  in  the  columns  of  THE  PHOTOGRAPHIC  TIMES, 
but  I  have  made  many  additions  that  I  have  imagined  may 
be  of  value  to  the  student.  A  dividing  line  will  be  found 
between  Mr.  Blaney's  writings  and  my  own  additions. 

THE  EDITOR. 


CHAPTER  I. 
THE    NEGATIVE. 

ANY  negative  may  be  used  for  photogravure,  that  is,  taken 
from  nature,  or  from  a  painting  or  engraving,  provided  it  is 
reversed,  and,  in  the  case  of  paintings,  should,  in  addition, 
be  on  an  orthochromatic  plate.  The  negative  should  be  soft 
and  brilliant,  well  exposed,  and  not  hard  or  under-exposed. 
A  reversed  negative  is  always  necessary  if  the  print  from 
the  copper  plate  is  required  to  be  similar  in  regard  to  right 
and  left,  or  if  no  other  means  are  to  be  taken,  to  reverse  the 
image  upon  the  copper  plate.  Professionals  use  stripping 
plates  especially  made  for  this  purpose  for  small  work,  or  the 
reversed  negative  may  be  made  in  the  copying  camera.  A 
fairly  good  reversed  negative  can  be  made  by  contact  in 
the  printing  frame  from  an  albumen  print  from  the  original 
negative,  the  print  made  transparent  with  white  wax  by 
being  placed  on  a  piece  of  warm,  clean  metal  and  the  wax 
rubbed  over  the  face.  To  have  the  negative  reversed,  the 
print  should  first  be  placed,  face  out,  against  the  glass  of  the 
printing  frame,  with  its  back  against  the  sensitive  surface  of 
the  transparency  plate,  the  back  closed  in  and  exposed  to  a 
large  lamp  for  about  five  seconds.  Every  care  must  be 
taken  that  you  use  the  best  of  negatives,  carefully  retouched 
if  necessary,  as  the  professional  photographic  etchers  have 
informed  me  that  (from  their  standpoint)  the  success  of  the 
whole  process  depends  on  the  quality  of  the  original  negative 
and  the  care  taken  in  artistic  retouching. 


It  will  often  happen  in  commercial   photogravure   work 
that  plates  have  to  be  made  from  all  kinds  of  original  nega- 


PHOTOGRAVURE. 


tives.  In  cases  where  these  are  flat  from  over-exposure  it  is 
well  to  make  a  carbon  transparency  ;  intensifying  the  image 
with  a  strong  solution  of  permanganate  of  potash,  and  from 
this  make  a  fresh  negative  upon  a  slow  or  Carbutt  trans- 
parency plate. 

Mr.  Horace  Wilmer  says  :  "  The  class  of  negative  most 
suitable  is  such  as  gives  a  good  result  by  any  of  the  printing 
processes.  A  bright  sparkling  negative  will  always  give  a 
good  plate,  but  I  do  not  find  that  any  satisfactory  results 
can  be  got  from  a  soft  flat  negative.  The  negative  should 
be  as  perfect  as  possible.  It  is  absolutely  useless  to  work 
from  a  faulty  negative.  Contrasts  on  it  may  be  increased 
by  retouching.  Such  contrasts  are  desirable  because  the 
tendency  of  the  etching  is  to  reduce  them  somewhat." 

Perhaps  the  simplest  way  of  obtaining  a  reversed  negative 
is  by  placing  the  dry  plate  in  the  slide  film  inside  and  expos- 
ing through  the  glass,  of  course  after  allowing  in  focusing 
for  the  thickness  of  the  glass  plate.  With  the  wet-collodion 
process,  usually  the  method  employed  by  large  photo- 
mechanical printers,  this  method  can  be  used  because  it  is  a 
simple  matter  to  carefully  examine  the  glass  plate  to  be 
employed,  but  it  will  be  obvious  that  with  the  ordinary  dry 
plate  all  the  imperfections  of  the  glass,  such  as  dirt,  scratches, 
air-bubbles,  etc.,  will  be  clearly  reproduced  in  the  image. 

Another  method  largely  employed  to  produce  reversed 
negatives  direct,  is  by  means  of  a  mirror  or  prism  placed 
either  before  or  behind  the  lens.  The  prism  is  the  more 
convenient,  but  if  large  sizes  are  used  it  becomes  a  costly 
piece  of  apparatus.  The  mirror,  which  should  be  a  plane  of 
glass  silvered  on  its  surface,  is  a  less  expensive  affair.  By 
either  of  these  means  the  reversed  negatives  can  be  made 
direct  without  suffering  the  least  in  quality. 

With  celluloid  or  other  flexible  films,  printing  can,  of 
course,  be  done  from  either  side.  Practical  men,  however, 


THE    NEGATIVE.  II 

say  that,  except  with  the  very  thinnest  films,  there  is  an 
undoubted  loss  of  sharpness  in  the  grain,  when  these  films 
are  reversed  and  with  some  mechanical  processes. 

Against  this,  however,  it  may  be  said  that  better  contact 
can  be  obtained  in  printing  than  if  the  film  were  upon  a 
piece  of  uneven  glass,  as  is  often  the  case,  for  by  backing  it 
with  a  piece  of  plate-glass  perfect  contact  is  ensured  every- 
where. 

We  come  now  to  the  method  of  stripping  the  film  from  the 
glass.  If  the  negative  is  made  by  the  collodion  process  the 
matter  is  a  simple  one.  The  glass  is  treated  with  French 
chalk  previous  to  collodionizing.  After  the  negative  is 
made  and  dried  it  is  laid  on  a  leveling  stand  and  a  solution 
of  gelatine  poured  on  it.  When  dry,  it  is  readily  stripped 
by  running  a  knife  all  round.  With  ordinary  dry -plates  the 
method  usually  recommended  is  to  immerse  them  in  dilute 
hydrofluoric  acid.  The  difficulty  often  experienced  here  is 
in  the  lateral  expansion  of  the  film.  This  will  largely 
depend  upon  the  plate,  or  rather  the  quality  of  the  gelatine 
used.  There  are,  however,  two  methods  of  securing  the 
films  to  some  medium  unaffected  by  moisture,  and  so  pre- 
vent expansion  or  distortion.  The  first  is  that  recommended 
by  Mr.  A.  Pumphrey  and  the  second  by  Mr.  H.  J.  Burton, 
modified  descriptions  of  which  are  given  in  a  recent  number 
of  The  British  Journal  of  Photography.  If  the  negative  is 
varnished  this  is  removed.  A  thin  film  of  gelatine  is  moist- 
ened in  a  dilute  solution  of  hydrofluoric  acid,  one  part  of 
acid  to  sixty  of  water.  This  gelatine  film  is  secured  on 
paper  by  a  coating  of  india-rubber. 

The  action  of  the  dilute  acid  is  to  soften  the  gelatine, 
making  it  very  adhesive.  It  can,  in  this  state,  be  readily 
attached  to  the  negative  by  squeegeeing.  The  acid  in  the 
film  passes  through  the  negative,  and  releases  it  from  the 
glass.  It  can  then  be  lifted  off  and  pinned  to  a  flat  surface 


12  PHOTOGRAVURE. 

to  dry.  The  paper  can  afterward  be  stripped  off,  when  dry, 
by  moistening  the  back  with  a  little  benzole  to  dissolve  the 
india-rubber.  In  this  manner  we  get  the  stripped  negative 
in  exactly  the  same  size  as  when  on  the  glass,  to  which  it 
can  be  restored  at  any  time  desired. 

Burton,  in  his  method,  employs  collodion  in  place  of  paper 
as  the  support.  The  negative  is  first  coated  with  a  thick 
collodion,  and  this  is  allowed  ten  minutes  or  so  to  set.  It  is 
then  immersed  in  plain  water  until  the  film  loses  all  appear- 
ance of  greasiness.  A  few  drops  of  hydrofluoric  acid  are 
added  to  the  water,  and  the  dish  gently  rocked.  The  film 
will  soon  detach  itself,  when  the  plate  should  be  at  once 
rinsed.  Another  plate  previously  coated  with  gelatine,  and 
dried,  is  placed  in  the  dish,  and  the  released  film,  after 
reversing,  is  floated  upon  it,  the  two  removed  together,  and 
allowed  to  dry. 

So  far  we  have  only  treated  upon  reverse  negatives,  either 
obtained  at  once  or  reversed  afterward.  It  often  happens, 
however,  that  we  have  an  ordinary  negative,  which  is 
required  to  be  reversed.  This  negative  may  be  a  valuable 
one,  and  the  risk  involved  in  stripping  it  be  too  great. 

Another  simple  method  of  obtaining  a  reversed  negative 
is  by  means  of  the  powder  process.  Although  this  process 
is  an  old  one,  it  appears  to  be  but  little  known,  for  what 
reason  we  have  never  been  able  to  define.  It  is  by  no  means 
difficult,  and  by  its  means  a  negative  can  be  obtained  direct 
from  a  negative  without  the  intermediate  positive  trans- 
parency. 

The  principle  of  the  process  is  this:  An  organic  tacky  sub- 
stance is  sensitized  with  potassium  dichromate,  and  exposed 
under  a  reversed  positive  to  the  action  of  light.  All  those 
parts  acted  upon  become  hard,  the  stickiness  disappearing 
according  to  the  strength  of  the  light  action,  while  those 
parts  protected  by  the  darker  parts  of  the  positive  retain 


THE    NEGATIVE.  13 

their  adhesiveness.  If  a  colored  powder  be  dusted  over,  it 
will  be  understood  that  it  will  adhere  to  the  sticky  parts  only, 
forming  a  visible  image,  the  same  being  a  reproduction  of 
the  positive  printed  from.  The  process  is  very  useful  for 
the  production  of  lantern  slides  and  transparencies,  or  for 
the  reproduction  of  negatives.  Any  of  the  following  formulae 
may  be  employed  for  the  manufacture  of  the  organic  sub- 
stance:— 

SOLUTION  A. 

Gum  arable 25  grammes 

Grape  sugar 60  grammes 

Purified  honey 15  grammes 

Alcohol,  40  d eg 15  c.c. 

Water 60  c.c. 

SOLUTION  B. 

Saturated  solution  of  ammonium  dichromate. 
Two  solutions  to  be  mixed  together  before  using  in  pro- 
portions 15  A,  25  B,  50  water. 

WOODBURY'S  FORMULA. 

Gum  arabic 60  grains 

Glucose 45  grains 

Glycerine 10  minims 

Potassium  dichromate 30  grains 

Distilled  water 2  ounces 

OBERNETTER  PROCESS. 

Dextrine 60  grains 

White  sugar 75  grains 

Ammonium  dichromate 30  grains 

Glycerine 2  to  8  minims 

Distilled  water 3  ounces 

The  gum  is  first  dissolved  and  the  remainder  of  the  ingre- 
dients added.  It  may  be  necessary  to  warm  the  solution  in 
a  hot  water  bath  to  dissolve  it.  It  is  then  filtered  through 
flannel  or  clean  muslin,  and  preserved  for  use  in  well-stop- 
pered bottles.  With  this  solution  clear  glass  plates  are  coated 
and  dried  by  a  gentle  heat  over  a  small  spirit  lamp.  The 
plate  while  still  warm  is  exposed  under  a  reversed  positive* 

*  Reversed  as  regards  right  and  left. 


14  PHOTOGRAVURE. 

for  from  two  to  five  minutes  in  sunlight,  and  from  10  to  20 
minutes  in  diffused  light.  The  image  is  then  but  slightly 
visible.  On  removing  from  the  printing  frame  the  plate  is 
laid  in  the  air  (protected  from  light)  for  a  few  minutes  to 
absorb  a  little  moisture  from  it.  The  next  process  is  the 
''dusting  on."  If  the  image  is  required  to  be  black,  fine 
Siberian  graphite  is  spread  over  it  with  a  soft  flat  brush. 
This  will  adhere  to  the  parts  iinaffected  by  light,  giving  an 
image  of  the  positive.  Any  colored  fine  powder  maybe  used, 
giving  images  in  various  colors.  When  fully  developed  the 
excess  of  powder  is  dusted  off  and  the  film  coated  with  collo- 
dion. After  this  it  is  well  washed  to  remove  the  unaltered 
gum  and  dichromate  salt.  The  film  may,  if  desired,  be 
detached  from  the  plate  and  used  for  enamels,  ivory,  wood, 
textile  fabrics,  opals,  etc. 


CHAPTER  II. 
THE  TRANSPARENCY. 

REGULAR  transparency  gelatine  dry  plates  are  the  handiest 
for  making  positives,  especially  for  amateurs,  if  one  does  not 
care  if  the  subject  is  in  reverse,  or  if  one  has  a  reversed 
negative  to  work  from.  There  is  a  "  special "  carbon  tissue, 
price  $4.00  per  roll  of  2x12  feet,  made  by  the  Autotype 
Company,  of  London,  England,  with  full  instructions  ap- 
pended ;  by  a  system  of  double  transfer,  reversed  negatives 
may  be  obtained  with  this  tissue.  The  "  special "  tissue  is 
only  to  be  used  for  the  transparency.  A  safe  edge  of  black 
paper  is  required  on  the  transparency,  pasted  up  exactly  to 
the  edge  of  the  picture,  on  the  glass  side  ;  it  comes,  sold  in 
strips,  gummed,  ready  for  use,  about  ^  inch  wide ;  this  is 
required,  as  the  tissue  used  for  the  negative  resist  on  the 
copper  plate,  which  is  printed  from  the  transparency,  must 
have  a  safe  edge,  shielded  from  the  light,  or  it  will  not  attach 
itself  to  the  copper  plate,  the  tissue  coming  inside  half  way. 
The  screw  pressure  printing  frame  should  have  a  piece  of 
heavy  felt  for  backing  the  transparency. 

The  following  instructions  for  making  carbon  transparen- 
cies will  no  doubt  be  found  useful: 

The  carbon  tissue  prepared  for  this  process  consists  of 
paper  coated  with  gelatine  containing  carbon,  lamp-black,  or 
other  pigments. 

The  Autotype  Company,  of  London,  manufacture  a  special 
"  transparency  "  tissue. 

CUTTING  UP  THE  TISSUE  is  performed  by  unrolling  it  gently 
upon  a  zinc  cutting  plate,  cut  square  and  true,  with,  the  inches 
marked  at  the  bottom  and  right-hand  side.  By  using  a  T 


l6  PHOTOGRAVURE. 

square  and  observing  the  numbered  inches  marked  on  the 
plate,  it  will  not  be  difficult  to  cut  the  tissue  to  any  dimen- 
sion. If  the  tissue  is  very  curly  and  unmanageable  it  should 
be  kept  down  with  convenient  weights.  After  cutting  it  up 
to  the  required  sizes,  which  should  be  conveniently  smaller 
than  the  dish  to  be  used  for  sensitizing,  it  should  be  kept 
flat  under  a  metal  plate. 

SENSITIZING  THE  TISSUE  is  the  next  operation.  This  is 
performed  in  a  solution  of  potassium  dichromate  rendered 
alkaline  with  ammonia.  Tie  over  the  mouth  of  a  two-gallon 
jug  a  piece  of  muslin,  to  form  a  kind  of  bag,  into  which  place 
fifteen  ounces  of  potassium  dichromate,  then  fill  up  the  jug 
with  water  and  allow  it  to  stand  until  the  dichromate  is  dis- 
solved and  the  solution  becomes  cold.  It  is  sometimes  advis- 
able to  regulate  the  quantity  of  dichromate.  In  hot  weather, 
or  for  very  thin  negatives,  the  proportion  of  water  should  be 
doubled,  while  for  very  hard  negatives  only  half  the  quan- 
tity should  be  used.  In  very  hot  weather  it  is  often  advan- 
tageous to  replace  about  30  per  cent,  of  the  water  with  the 
same  quantity  of  alcohol. 

The  operation  of  sensitizing  the  tissue  must  be  carried  on 
in  a  room  lighted  by  a  window  covered  with  a  yellow  blind. 
A  flat  dish  of  porcelain,  glass,  or  papier  maclij,  a  squeegee, 
and  a  sheet  of  glass  or  zinc  larger  than  the  tissue,  will  be 
required. 

The  solution  is  poured  into  the  dish,  and  should  be  at  least 
two  inches  deep.  The  tissue  is  then  immersed  in  it,  and  the 
air-bells  that  form  immediately  brush  away  from  both  sides 
with  a  broad  camel's-hair  brush.  The  temperature  of  the  bath 
should  not  be  higher  than  60  deg.  Fahr.;  and  the  time  of 
immersion  should  be  from  three  to  five  minutes.  After  the 
tissue  has  remained  in  the  solution  for  the  allotted  time  it  is 
gently  removed  and  laid  face  downward  upon  the  glass  or 
zinc  plate,  and  the  back  squeegeed,  removing  all  superfluous 


THE    TRANSPARENCY.  17 

solution.  The  tissue  is  removed  from  the  glass  and  laid  over 
a  sheet  of  cardboard,  bent  into  the  form  of  an  arch,  to  dry. 
Another  method  (H.  J.  Burton's)  of  sensitizing  carbon 
tissue  is  to  lay  it  flat  on  a  sheet  of  clean  blotting  paper,  and 
sponge  on  the  back  a  very  strong  sensitizing  solution  com- 
posed as  follows  : 

Potassium  dichromate 4  ounces 

Liquid  ammonia  fort i  ounce 

Water 20  ounces 

First  mix  the  ammonia  with  the  water,  then  grind  up  and 
add  the  dichromate. 

DRYING  THE  TISSUE  should  be  accomplished  in  a  room  per- 
fectly free  from  the  noxious  fumes  of  other  chemicals,  and 
lighted  only  by  non-actinic  light.  Tissues  sensitized  during 
the  evening  should  be  dry  on  the  following  morning.  It 
should  then  be  cut  to  the  sizes  required  and  kept  flat  in  a 
pressure  frame,  or  other  similar  contrivance. 

EXPOSING  THE  TISSUE. — The  tissue  can  be  exposed  behind 
the  negative  in  an  ordinary  printing  frame,  or  in  special 
frames  having  no  joint  in  the  back,  as  no  image  is  visible. 
The  negative  must  be  furnished  with  a  safe  edge,  made  by 
painting  an  edge  about  one-eighth  of  an  inch  round  the 
negative  with  black  varnish,  or  by  pasting  on  strips  of  red  or 
black  paper.  Exposure  must  be  judged  by  an  actinometer. 
A  very  suitable  instrument  for  timing  the  exposure  of  carbon 
tissue  is  Sawyer's  actinometer.  It  consists  of  a  rectangular 
tin  box  with  a  glass  lid,  bearing  twelve  tints  graduated  from 
slight  discoloration  to  a  degree  of  opacity,  representing  the 
extreme  amount  of  deposit  upon  the  lights  of  the  densest 
negatives,  each  division  of  this  screen  of  tints  bearing  a  num- 
ber in  opaque  pigments;  and  a  roll  of  sensitive  paper  is  placed 
in  the  box,  and  the  end  pulled  forward  so  as  to  pass  under 
the  tints.  When  this  arrangement  is  placed  in  the  light,  the 
silver  paper  commences  to  discolor  underneath  the  graduated 


l8  PHOTOGRAVURE. 

screen,  beginning  of  course  at  the  lightest,  but  the  number 
on  the  tint  being  in  an  opaque  pigment  is  preserved  white, 
and  serves  to  register  the  progress  of  printing;  for  if,  when 
the  lid  is  opened,  the  number  one,  for  instance,  shows  clearly 
on  a  tinted  ground,  the  instrument  is  said  to  have  registered 
one  tint;  by  that  time  the  number  two  will  have  begun  to 
make  its  appearance,  and,  if  sufficient  exposure  be  given,  the 
light  will  print  through  the  whole  scale  by  successive  steps, 
and  show  up  the  numbers,  one  to  twelve.  With  an  instru- 
ment of  this  kind  it  is  evident  that,  by  exposing  along- 
side the  carbon  tissue  and  determining  the  number  of 
tints  required  for  the  proper  exposure  of  that  negative,  the 
same  number  of  tints  with  the  same  negative  will  always 
prove  right.  A  little  practice  will  enable  one  to  judge  the 
number  of  tints  required  for  every  class  of  negative. 

It  will  be  well  to  remark  here  that  freshly  sensitized  tissue 
will  produce  inferior  pictures  to  that  used  a  day  or  two  after; 
the  pictures  are  not  so  hard,  and  there  is  less  danger  of  the 
high-lights  being  washed  away. 

CONTINUING  ACTION  OF  LIGHT. — If  the  carbon  tissue^ 
after  exposure  to  the  light,  be  kept  in  the  dark  for  a  little 
time  the  effect  on  the  print  will  be  precisely  the  same  as  if 
the  exposure  to  light  had  been  prolonged.  This  continuing 
action  of  light  may  often  be  utilized  to  advantage.  Pictures 
known  to  be  under-exposed  will,  if  kept  till  morning,  by  that 
time  have  acquired  the  same  force  as  if  they  had  received 
the  proper  exposure. 

DEVELOPMENT  consists  simply  in  dissolving  the  gelatine  un- 
affected by  light,  with  hot  water  as  the  solvent. 

Immerse  the  exposed  tissue  in  a  bath  containing  cold 
water.  It  will  first  of  all  curl  up,  but  afterward  lay  flat 
and  limp.  It  is  then  placed  in  another  bath  containing  cold 
water  together  with  a  sheet  of  glass  which  has  previously 
been  coated  with  a  5  per  cent,  solution  of  gelatine.  Bring 


THE    TRANSPARENCY.  19 

them  together  face  to  face,  draw  them  out,  and  force  into 
close  contact  with  a  large  squeegee  ;  then  place  between 
blotting  paper  for  five  or  ten  minutes.  In  squeegeeing,  the 
tissue  should  be  uppermost,  and  a  sheet  of  American  cloth 
laid  over  it  to  prevent  the  squeegee  from  damaging  it. 

Development  should  not  be  attempted  for  at  least  twenty 
minutes,  during  which  time  the  glass,  with  the  tissue  on  it, 
should  be  placed  between  sheets  of  blotting  paper,  and  kept 
under  pressure  to  insure  its  adherence  to  the  glass  support. 
After  that  time  it  is  placed  in  a  dish,  and  water  heated  to  a 
temperature  of  100  deg.  F.  added.  The  colored  pigment 
will  at  once  commence  to  ooze  out  of  the  edges,  and  after  a 
little  time  the  paper  originally  holding  the  carbon  film  may 
be  removed  with  the  hand.  Then,  by  gently  leveling  the 
picture  with  the  hand,  the  superfluous  gelatine  will  be 
washed  away,  and  if  the  exposure  has  been  correct  a  perfect 
image  should  remain.  A  certain  amount  of  control  can  be 
kept  over  an  autotype  picture.  An  over-exposed  print  will 
show  itself  by  insolubility  of  the  gelatine,  and  the  high 
light  refusing  to  be  washed  clear.  The  temperature  should 
be  raised  considerably,  and  hot  water  poured  over  with  a 
jug.  If  this  fails  to  reduce  the  intensity,  add  a  little 
ammonia  to  the  water  as  a  last  resource,  though  the  better 
plan  is  to  make  another  print,  giving  less  exposure.  Under- 
exposure results  in  over-solubility  of  the  gelatine.  The 
half-tones  will  be  washed  clean  away.  It  is  rarely  an  under- 
exposed print  can  be  saved.  All  that  can  be  done  is  to 
reduce  the  temperature  of  the  water.  Development  should 
never  be  hurried  ;  the  slower  it  is  the  better  the  gradation 
of  tone  in  the  results. 

After  development  is  complete  the  bichromate  salt  is 
discharged,  and  the  image  rendered  perfectly  insoluble  by 
well  washing  in  cold  water  and  placing  in  a  dish  containing 
a  5  per  cent,  solution  of  potash  alum,  after  which  it  is  again 
washed  and  dried. 


20  PHOTOGRAVURE. 

Another  method  of  making  a  transparency  and  one  that 
involves  less  trouble  is  by  means  of  the  transparency  plates 
which  are  now  in  the  market.  Of  these  we  have  tried  Car- 
butt's  with  the  greatest  success.  For  these  the  following 
instructions  are  given : 

The  requisites  are,  a  deep  printing-frame  a  size  larger 
than  the  negative  to  be  used,  with  a  flat  glass  bottom  clear 
and  free  from  scratches  (crystal  plate  is  best),  a  dark- 
room Lantern,  or  other  artificial  light,  and  Keystone 
Gelatino-Albumen  Plates.  Transparencies  can  be  made 
same  size  of  negative  by  contact  and  exposure  to  arti- 
ficial light,  or  enlarged  or  reduced  in  the  camera  by  daylight, 
with  equal  perfection  in  result.  To  make  transparencies  by 
contact  place  one  of  the  Keystone  thin  crystal  glass  trans- 
parency plates  over  the  negative  in  printing-frame,  lay  piece 
of  dark  soft  material  over  it,  close  down  the  back,  and  expose 
to  the  light  of  the  lantern  or  to  a  gas  flame  or  other 
artificial  light,  for  10  to  30  seconds,  according  to  density  of 
negative,  at  a  distance  of  20  inches  from  the  flame.  Use 
the  following  developer: 

ElKONOGEN   AND    HYDROCHINON    DEVELOPER. 

A. 

Metric  Weight.  Avoirdupois  Weight. 

600    c.c.m Distilled  Water 20  ounces 

120  grammes Sulphite  of  Soda  Crystals 4  ounces 

22  grammes Eikonogen 330  grains 

io£  grammes Hydrochinon 160  grains 

960    c.c.m Water  to  make  up  to 32  ounces 

B. 

Metric  Weight.  Avoirdupois  Weight. 

600  c.c.m  Distilled  Water 20  ounces 

60  grammes Carbonate  of  Potash 2  ounces 

60  grammes Carbonate  Soda  Crystals 2  ounces 

960  c.c.m Water  to  make  up  to 32  ounces 

For  use  take  i  ounce  (30  c.c.)  of  A,  ^  ounce  (25  c.c.)  of  B, 
with  4  ounces  (120  c.c.)  of  water. 


THE    TRANSPARENCY.  21 

More  of  A  will  increase  density,  more  of  B  will  increase 
detail  and  softness.  Temperature  of  developer  should  not 
vary  much  below  65  deg.  nor  above  75  deg.  The  after  treat- 
ment is  same  as  with  any  other  developer. 

Let  the  development  continue  until  the  blacks  look  quite 
strong,  and  detail  showing  in  the  high-lights;  wash  off  devel- 
oper, then  immerse  in 

CARBUTT'S  NEW  ACID  FIXING  AND  CLEARING  BATH. 

4  c.c.m Sulphuric  Acid i  drachm 

480  grammes Hyposulphite  of  Soda 16  ounces 

60  grammes Sulphite  of  Soda 2  ounces 

30  grammes *Chrome  Alum i  ounce 

1920  c.c.m Warm  Water 64  ounces 

* N.  B.-  During  cold  weather  use  only  half  the  quantity 
of  Chrome  Alum  in  above. 

Dissolve  the  hyposulphite  of  soda  in  48  ounces  (1440  c.c.m.) 
of  water,  the  sulphite  of  soda  in  6  ounces  (180  c.c.m.)  of  water; 
mix  the  sulphuric  acid  with  two  ounces  (60  c.c.m.)  of  water, 
and  pour  slowly  into  the  sulphite  soda  solution,  and  add  to 
the  hyposulphite;  then  dissolve  the  chrome  alum  in  8  ounces 
(240  c.c.m.)  of  water  and  add  to  the  bulk  of  solution,  and  the 
bath  is  ready.  This  fixing  bath  will  not  discolor  until  after 
long  usage,  and  both  clears  up  the  shadows  of  the  negative 
and  hardens  the  film  at  the  same  time. 

Let  remain  two  or  three  minutes  after  transparency  is 
cleared  of  all  appearance  of  silver  bromide.  Then  wash  in 
running  water  for  not  less  than  half  an  hour  to  free  from 
any  trace  of  hypo  solution.  Swab  the  surface  with  wad  of 
wet  cotton,  rinse,  and  place  in  rack  to  dry  spontaneously. 
Then  varnish  with  plain  collodion. 


CHAPTER  III. 
THE  CARBON  TISSUE — (SENSITIZING  AND  EXPOSURE). 

THE  carbon  tissue  used  as  a  resist,  which  is  mounted  on 
the  copper  plate,  is  made  by  the  Autotype  Company,  London, 
England.  No.  100  Standard  Brown  is  the  right  grade  to  use, 
though  I  have  reached  good  results  with  No.  103.  The  No.  100 
is  a  heavier  grade  than  No.  103,  and  requires  two  or  three 
minutes  longer  exposure  than  the  latter.  Use  a  deep  printing 
frame  with  a  screw  pressure  to  secure  absolute  contact,  which 
is  known  by  iridescent  markings  appearing  on  the  glass  of 
the  printing  frame.  A  Johnson's  actinometer  is  very  useful 
to  time  the  exposure.  From  4  to  6  tints  are  necessary. 
Experience  here  is  the  only  guide,  as  the  light  varies  as  well 
as  the  density  of  the  negative  and  the  sensitiveness  of  the 
tissue.  If  one  does  not  have  an  actinometer,  a  slip  of  albumen 
paper  may  be  used ;  as  soon  as  the  paper  has  reached  the 
darkest  point,  which  is  then  called  one  tint,  extend  it  so  that 
a  fresh  portion  comes  out  to  the  light,  and  so  on  for  the 
different  tints.  In  September,  for  instance,  the  darkest  tint 
is  reached  in  about  3  to  4  minutes ;  two  tints  and  a  half  or 
8  minutes  in  the  shade  at  midday  on  a  clear  day  in  September 
is  about  right, — this  is  understood  to  be  with  medium  nega- 
tives and  No.  103  tissue  sensitized  within  three  days. 

You  should  over-expose  rather  than  under-expose,  allow- 
ance being  made  when  the  acid  is  used.  Print  deeply,  so 
that,  on  development,  the  negative  tissue  on  the  copper  plate 
shows  all  the  detail  clearly  in  the  shadows.  The  tissue 
should  not  appear  very  dark  on  the  plate.  The  copper 
should  show  up  through  the  gelatine  clearly  and  brightly. 
The  thinner  the  negative  tissue,  the  quicker  the  biting  of  the 
acid. 


THE  CARBON  TISSUE.  23 

SENSITIZING  THE  TISSUE. 

The  carbon  tissue  comes  only  in  rolls  of  2^/2  feet  by  12  feet, 
price  $3.00,  not  cut.  It  is  not  sold  in  a  sensitive  condition. 
Full  instructions  with  each  roll  for  sensitizing.  Tap  water 
will  do,  but  I  would  suggest  distilled  water  for  making  the 
sensitizing  solution  of  bichromate  of  potassium. 

Bichromate  of  potassium i  ounce 

Water 16  ounces 

Alcohol Yz  drachm 

Ammonia 12  drops 

The  best  way  to  sensitize  the  tissue,  is  to  place  the  tissue 
face  up,  keeping  it  flat  so  that  the  solution  reaches  all  parts  at 
once,  removing  all  air  bubbles,  and  rubbing  in  the  solution 
with  the  fingers  until  pliant ;  the  time  of  immersion  is  three 
minutes  in  winter,  two  minutes  in  summer.  The  hands 
should  be  washed  directly  after  handling  the  solution,  and 
care  must  be  taken  that  there  are  no  cuts  on  the  fingers,  as 
the  solution  is  very  harmful,  but  if  due  care  is  exercised  and 
the  hands  well  washed  immediately  with  soap,  little,  if  any, 
trouble  will  be  experienced  ;  use  rubber  finger  tips  as  much 
as  possible.  Keep  the  temperature  of  the  solution  at  70  deg. 
both  in  summer  and  winter.  Take  a  piece  of  glass  free  from 
scratches  (an  inch  larger  all  round  than  the  tissue);  have  the 
glass  ready  cleaned  with  ammonia  and  talcum  powder  of  fine 
whiting,  squeegee  the  sensitized  carbon  tissue  directly  from 
the  solution  on  to  the  glass  and  place  to  dry  at  night  in  a 
light-tight  box ;  it  will  be  dry  in  the  morning. 

The  tissue  is  in  the  best  condition  for  three  days  after 
sensitizing ;  it  can  be  used  up  to  seven  days  ;  it  gradually 
increases  in  sensitiveness  from  day  to  day.  After  a  week  or 
ten  days  has  elapsed,  it  is  hard  to  manage  and  becomes  unre- 
liable. When  the  tissue  is  dry  take  a  sharp  knife  and  cut 
inside  the  edge,  and  strip  off  one  corner.  Fairly  good  results 
can  be  reached  by  simply  drying  over  a  curved  piece  of  pulp 


24  PHOTOGRAVURE. 

board,  which  is  tied  with  string  on  each  end,  but  squeegeeing 
on  glass  gives  a  sharper  result.  The  addition  of  ammonia 
and  alcohol  to  the  sensitizing  solution  makes  it  easier  to  strip 
the  paper  from  the  copper  plate,  after  the  carbon  tissue  is 
mounted  on  the  plate,  and  enables  one  to  develop  the  resist 
in  the  water  at  a  lower  temperature  than  without  it,  thus 
avoiding  pits  in  the  darker  portions  and  white  specks  or 
bubbles  in  the  lights,  should  the  water  reach  too  high  a 
temperature. 


CHAPTER  IV. 

THE  CLEANING  AND  GRAINING  OF  THE  COPPER  PLATE,  AND 

GRADE  OF  COPPER  NECESSARY,  AND  WHERE  AND  How 

TO  BUY  IT  AT  REASONABLE  PRICES. 

THE  best  copper  is  recognized  by  its  rosy  lustre.  Pure 
copper  only  should  be  used.  It  can  be  purchased  ready 
polished  and  beveled  from  several  firms  in  New  York.  The 
best  way,  if  large  quantities  of  plates  are  required,  is  to  buy 
the  copper  in  the  rough  of  one  firm  and  have  it  polished  by 
another,  and  bevel  it  yourself  if  necessary  with  a  file  and 
burnish  it  by  hand,  or  the  firm  who  polish  it  will  do  the 
beveling  for  you. 

The  Scovill  &  Adams  Co.  supply  copper-plates  of  the 
finest  quality,  ready  polished,  for  photogravure  work. 

Total  cost  by  this  method  about  one-third  less  than  by 
purchasing  ready  made.  It  makes  a  copper  plate  fa  grade, 
9x11,  cost  about  $1.10.  Order  your  copper  -fa  in.  grade  up 
to  10  x  12  ;  larger  sizes  ^  in.  grade.  If  you  use  -fa  in.  grade 
above  this  size,  the  plate  is  liable  to  buckle.  Be  sure  the 
plate  is  free  from  pits  and  scratches  and  with  a  high  polish. 
Have  what  the  polishers  and  engravers  call  a  rouge  polish. 
If  they  do  not  supply  it,  rouge  it  yourself  with  powdered 
rouge  and  turpentine,  using  a  ball  of  absorbent  cotton  over 
a  large  piece  of  smooth  cork.  A  good  way  to  buy  rouge  is 
in  the  stick  ;  it  is  more  economical.  Rub  the  wet  cotton  on 
it  and  the  right  quantity  is  assured.  Pits  in  the  copper  may 
be  taken  out  by  tapping  upon  the  back  with  a  nail  set,  using 
a  small  piece  of  polished  steel  to  lay  the  face  of  the  plate  on, 
and  localizing  the  spot  with  a  pair  of  calipers.  The  part 
raised  by  the  tapping,  cut  away  with  the  scraper,  then  rub 


26  PHOTOGRAVURE. 

the  spot  with  Scotch  stone  and  water,  then  a  piece  of 
engraver's  charcoal  (cut  to  a  pencil  point),  with  machine  oil ; 
then  burnish  with  the  regular  engraver's  burnisher  and 
sperm  oil,  finishing  with  rouge  and  refined  turpentine. 

When  the  plate  is  well  polished,  make  a  strong  solution  of 
caustic  potash  (C.P.),  which  comes  in  sticks,  as  strong  as 
possible,  as  long  as  it  does  not  stain  the  copper.  It  should 
register  about  40  deg.  with  an  actinometer  used  to  test  silver 
solutions. 

Take  a  piece  of  absorbent  cotton  and  clean  the  copper 
with  potash  (by  the  way,  use  finger  tips) ;  rinse  under  tap 
for  five  minutes,  then  a  fresh  piece  of  cotton  with  alcohol  at 
95  per  cent.,  rinse  again  with  water,  and  place  in  warm  water 
for  final  rinsing;  stand  up  on  corner,  or  place  in  drying 
frame  usually  used  for  negatives ;  allow  to  drain.  Should 
any  stains  appear,  it  must  be  recleaned  and  all  the  opera- 
tions repeated  until  it  drains  off  without  streaks,  for  these 
streaks  and  spots  of  stain  are  caused  by  the  caustic  potassa, 
which  is  difficult  to  remove.  It  is  as  hard  to  get  rid  of  from 
the  copper  as  hyposulphite  is  from  a  negative.  These  streaks 
retard  the  acid  on  the  copper  wherever  they  appear,  and 
cause  defects  in  the  recording  of  the  original  tones  of  the 
negative. 

The  plate  is  then  ready  for  graining. 

II. — GRAINING  THE  COPPER  PLATE. 

A  grain  is  required  on  the  copper  plate  so  that  the  tones 
will  be  reproduced,  as  copper  has  not  a  sufficient  grain  of  its 
own.  The  grain  is  given  to  the  copper  plate  by  dusting  it 
with  powdered  Syrian  asphaltum  or  resin.  Have  a  paste- 
board box  made  18  inches  high,  12  inches  wide  and  8  inches 
deep,  perfectly  air-tight,  with  a  small  door  running  the  whole 
length  on  the  widest  side,  an  inch  or  two  from  the  bottom. 
Have  the  inside  of  the  box  perfectly  smooth ;  place  within 


THE    CLEANING    AND    GRAINING.  2"J 

the  box  4  ounces  finely  powdered  Syrian  asphaltum  (sold  by 
Messrs.  Theodore  Metcalf  &  Co.,  Tremont  Street,  Boston, 
Mass.)  ;  it  is  difficult  to  find  in  New  York.  Shake  the  box 
vigorously,  place  on  table,  insert  a  piece  of  wood  an  inch 
high  made  in  shape  of  cross  (or  open  square,  or  have  netting 
of  wire  raised  an  inch  from  the  bottom  of  the  box) ;  the 
copper  plate,  previously  cleaned,  is  at  once  placed  face  up 
upon  it.  Instead  of  shaking  the  box  it  can  be  arranged  upon 
supports  (see  fig.  T),  and  revolved. 


FIG.  i. 

Close  the  door  instantly,  and  let  the  plate  remain  about 
two  minutes ;  carefully  remove  the  plate  and  place  it  on  a 
Florence  oil  lamp,  holding  the  plate  with  a  hand  vise,  watch 
carefully  until  the  powder  disappears  from  the  surface  and 
the  plate  slightly  smokes,  then  stand  aside  to  cool.  Do  not 
keep  the  plate  too  long  on  the  heater,  or  the  particles  of  dust 
will  run  together,  forming  an  impenetrable  varnish  over  the 
plate.  This  part  of  the  process  is  not  difficult,  but  requires 
practice.  Preserve  each  atom  of  dust  as  much  as  possible, 
examine  with  magnifying  glass  and,  when  cool,  test  with 
finger  nail ;  if  it  rubs  off  easily,  it  has  not  been  heated 
enough  ;  then  the  plate  must  be  re-cleaned  and  again  pow- 


28  PHOTOGRAVURE. 

dered.  To  get  a  good  all-round  working  grain,  suitable  for 
medium  subjects,  the  plate  should  be  placed  at  once  in  the 
box  after  shaking ;  thus  the  coarser  particles  that  fall  first, 
and  the  finer,  which  gradually  settle,  will  combine  after  two 
or  three  minutes. 

Many  combinations  will  be  suggested  to  the  student  by 
practice  to  suit  the  subject ;  for  instance,  waiting  for  two 
minutes  and  then  inserting  the  plate,  gives  a  fine  grain  for 
delicate  subjects.  Powdered  dragon's  blood  (resin)  in  com- 
bination with  asphaltum  makes  a  beautiful  grain  ;  a  separate 
box  may  be  used  for  the  dragon's  blood ;  the  asphaltum  first 
dusted  on  the  plate,  then  inserted  in  the  dragon's  blood  box 
for  twenty  or  thirty  seconds,  then  melted  together.  The 
dragon's  blood  melts  first,  then  the  asphaltum. 

The  air  brush  is  also  used  by  professionals  ;  it  throws  a 
resinous  spirit  varnish,  coarse  or  fine,  as  required. 


CHAPTER  V. 

DEVELOPMENT  OF  NEGATIVE  RESIST   ON  THE  COPPER  PLATE, 

AND  PREPARATION  FOR  BITING  WITH  ACID  THROUGH 

THE  GELATINE. 

HAVE  a  wooden  box  made  24  inches  long,  by  12  inches  high, 
1 2  inches  wide,  with  door  6  inches  high  on  side,  fastened  with 
hinges,  top  and  bottom  of  box  open ;  cover  top  with  sheet 
zinc.  Place  inside  Florence  oil  lamp  ;  the  door  is  valuable 
to  regulate  the  heat.  On  top  of  box  place  deep  porcelain 
tray,  n  x  14,  fill  with  water  half  full ;  in  the  water  place  two 
pieces  of  plate  glass  £  inch  high  and  4  inches  long,  on  which 
to  place  copper  to  keep  it  from  the  bottom  of  the  tray.  Slide 
the  copper  plate  into  the  water,  removing  all  air  bubbles, 
keeping  the  fingers  off  the  surface  of  the  plate.  Take  the 
sensitized  and  exposed  tissue  and  place  face  down  in  the  cold 
water  (65  deg.)  sliding  it  gradually  in  at  further  end  of  the 
paper  so  as  to  avoid  air  bubbles  ;  the  instant  the  paper  curls 
backward,  place  it  over  the  copper  plate  and  remove  it 
quickly  from  the  water.  This  has  to  be  done  with  celerity 
or  it  will  be  found  difficult  to  mount  the  tissue  with  the 
squeegee  on  the  copper,  and  also  it  should  be  exactly  placed 
with  reference  to  the  top  and  sides  of  the  copper ;  all  this, 
of  course,  to  be  done  under  water,  never  allow  it  to  slip  up 
out  of  it.  Place  plate  on  table  and  squeegee  into  place, 
stroking  firmly  from  the  centre,  each  way.  Place  face  down 
on  clean  blotting  paper,  under  heavy  weight  for  fifteen 
minutes.  While  plate  is  under  pressure  (which  is  necessary 
to  enable  the  gelatine  to  expand  and  attach  itself  to  the 
plate),  start  the  lamp  gradually,  and  by  the  time  the  paper 
is  ready  the  water  should  register  on  the  thermometer  75  deg. 


3°  PHOTOGRAVURE. 

Slide  the  plate  under  water  removing  air  bubbles  as  they 
appear,  with  a  ball  of  absorbent  cotton  ;  when  the  heat  of 
the  water  reaches  90  deg.  Fahr.,  the  gelatine  commences  to 
ooze  from  all  around  the  edges  of  the  paper,  and  after  the 
plate  has  remained  in  the  water  about  ten  minutes  after  the 
showing  up  of  the  gelatine  (at  the  temperature  from  90  to  95 
deg.),  take  a  pin  and  carefully  raise  the  paper  at  the  corner, 
gradually  pulling  away  the  paper  toward  the  opposite  corner, 
keeping  the  hand  close  to  the  water ;  should  the  gelatine 
which  adheres  to  the  plate  appear  to  lift,  wait  a  few  minutes 
longer  and  start  another  corner.  After  the  paper  is  stripped 
from  the  plate,  gently  develop  the  negative  resist  with  a 
piece  of  fresh  absorbent  cotton,  delicately  rubbing  the  sur- 
face, edges  first,  and  lave  the  plate  up  and  down  in  the 
water,  keeping  the  temperature  steadily  at  90  to  95  deg.,  by 
raising  or  lowering  the  lamp.  (Should  the  paper  be  under- 
exposed and  appear  very  black  on  the  copper,  develop  at 
100  to  no  deg.,  not  over.  If  over-exposed  it  will  appear 
very  thin,  and  the  heat  of  the  water  must  not  go  over  90  deg. ; 
it  will  strip  at  88  to  90  deg.)  Then  the  negative  image 
gradually  appears,  the  darks  first,  which  are  of  course  the 
brightest  portions ;  when  all  detail  appears  in  the  shadows 
and  the  negative  stands  out  clear  and  bright,  take  it  out  of 
the  dark-room  (which  is  lighted  with  an  ordinary  lamp),  and 
gently  wash  under  the  tap  with  clean  and  cold  water  at  65  to 
70  deg. 

Dry  the  resist  with  alcohol,  pouring  it  over  the  plate  from 
one  end,  starting  with  half  alcohol  and  half  water,  gradually 
adding  more  alcohol  and  eliminating  the  water,  until  a  final 
flooding  with  absolute  alcohol  is  reached  ;  use  fresh  solutions 
of  alcohol  and  water  for  each  copper  ;  don't  use  old  alcohol 
for  anything  except  cleaning  the  copper  at  the  end,  and  for 
removing  the  spirit  varnish.  Stand  up  to  dry  against  the 
wall,  face  out,  and  standing  square  on  the  bottom  of  the 


DEVELOPMENT    OF    NEGATIVE    RESIST.  31 

plate,  in  the  same  position  as  you  flooded  it  with  alcohol ;  it 
will  be  dry  in  twenty  minutes  if  rightly  flooded.  The  bare 
copper  should  now  be  protected  by  a  strong  varnish  in 
alcohol  (it  must  flow  freely  off  the  brush)  ;  a  good  varnish 
for  this  purpose,  and  the  best  I  know  of,  is  an  etcher's 
asphaltum  stopping-out  varnish,  sold  by  Messrs.  Devoe  &  Co., 
New  York  ;  price  50  cents  per  bottle.  Should  it  get  thick  as 
you  come  to  the  bottom  of  the  bottle,  add  a  little  spirits  of 
lavender  until  it  flows  again  freely.  Take  an  architect's 
ruling  pen  and  carefully  rule  a  line  with  the  varnish  up  to 
the  edge  of  the  picture,  making  it  exactly  true  with  the  sides 
of  the  plate  and  the  space  on  each  side  of  the  work  the  same 
with  the  top,  the  bottom  space  slightly  larger ;  make  sure 
that  it  slightly  comes  inside  the  picture.  Keep  the  rule  away 
from  the  surface  of  the  gelatine,  as  it  is  very  delicate.  Then 
cover  all  the  rest  of  the  copper,  protecting  the  bare  parts 
and  bevel,  and  bringing  the  varnish  up  to  the  line.  Allow  to 
dry  hard  ;  about  twenty  minutes  will  do.  Form  a  wall  about 
the  resist,  with  walling  wax,  about  an  inch  high  ;  make  a  lip 
at  one  corner,  the  further  left  hand  one,  for  instance  ;  see 
that  there  are  no  leaks.  There  are  several  grades  of  wax,  but 
Liedel  &  Co.'s  is  the  best ;  when  ordering  you  should  give 
the  name  as  modeling  wax ;  gray  is  a  good  color.  Pans  can 
be  used  made  of  tin  and  varnished,  or  porcelain  trays,  pro- 
tecting the  back  and  edges  of  the  plate  with  varnish,  but 
I  find  the  wax  very  helpful,  especially  on  large  plates. 


CHAPTER  VI. 

THE  ACID  BATHS. — How  TO  MAKE  THEM  AND  METHOD  OF 
BITING  THROUGH  THE  GELATINE. 

PERCHLORIDE  of  iron  C.P.  is  the  acid  generally  used  for 
this  purpose ;  it  is  a  still  acid,  and  if  the  room  is  well  ven- 
tilated no  harm  to  health  results,  but  care  must  be  taken  to 
air  the  baths  after  making  to  get  rid  of  the  surplus  chlorine. 

Four  baths  are  used,  each  of  different  strengths,  the 
strongest  is  used  first,  the  weakest  last.  I  quote  from  the 
catalogue  of  the  Boston  Art  Museum,  of  the  exhibition  illus- 
trating the  technical  methods  of  the  Reproductive  Arts  and 
Photo-Mechanical  Processes,  held  January  8,  1892:  " Photo- 
aquatint  (photogravure)  for  the  production  of  half-tone  in- 
taglio plates  from  photographs  from  nature,  paintings,  etc. 
A  dry  aquatint  ground  is  laid  on  a  metal  plate,  and  over  this 
is  mounted  a  gelatine  negative  film,  made  by  the  pigment 
printing  process.  To  obtain  this  negative  film  a  reversed 
positive  on  glass  has  first  to  be  made.  The  reason  why  this 
positive  must  be  reversed  will  become  clear  when  the  nature 
of  the  manipulations  in  the  pigment  printing  process,  which 
involves  the  turning  of  the  film,  are  considered.  The  film 
mounted  on  the  plate  is  a  washout  relief,  thickest  in  those 
parts  which  are  to  show  white  in  the  impressions  from  the 
plate,  and  gradually  growing  thinner  toward  the  darkest 
parts,  where  it  is  thinnest.  The  film  acts  as  a  'resist'  to  the 
mordant,  allowing  it  to  pass  freely  in  the  thinnest  parts,  and 
less  freely  as  it  increases  in  thickness.  If,  however,  the  film 
were  mounted  on  the  bare  plate,  and  the  biting  then  pro- 
ceeded with,  the  result  would  be  of  no  practical  use,  as  the 
plate  would  present  merely  shallow  hollows,  incapable  of 


THE    ACID    BATHS. —  HOW    TO    MAKE    THEM.  33 

holding  the  ink,  and  which  would  therefore  be  wiped  out  in 
the  attempt  to  clean  the  surface  of  the  plate.  This  is,  how- 
ever, prevented  by  the  aquatint  ground,  which  allows  the 
mordant  to  circulate  only  in  the  channels  around  the  resinous 
particles  of  which  it  consists,  and  thus  produces  a  grain 
precisely  as  in  ordinary  aquatinting.  The  mordant  used  in 
perchloride  of  iron,  which  is  a  '  still  mordant,'  i.e.,  one  which 
does  not  evolve  bubbles  of  gas.  An  effervescent  mordant 
cannot  be  used  as  the  bubbles  rising  under  the  film  would 
tear  it  up.  In  biting,  successive  baths  of  varying  strength 
are  made. 

"  A  strong  solution  of  perchloride  of  iron  penetrates  only 
the  thinner  parts  of  the  film,  whereas  a  weaker  acts  also 
through  the  thicker  parts.  The  biting,  therefore,  begins 
with  a  strong  solution,  which  acts  only  in  the  darkest  parts, 
and  followed  up  with  weaker  and  weaker  solutions,  which 
continue  the  biting  in  the  darks  and  at  the  same  time  carry 
it  on  gradually  toward  the  lights.  If  necessary,  the  plate  is 
worked  over  with  the  burnisher  to  brighten  the  lights,  and 
with  roulettes,  etc.,  to  strengthen  the  darks." 

Purchase  nine  (9)  pounds  of  perchloride  of  iron  in  crystals 
(45  cents  per  pound),  take  a  wide-mouthed  gallon  jar,  place 
within  half  a  gallon  of  distilled  water,  add  the  iron  until  it 
tests  30  deg.  by  a  Beaume  hydrometer,  pour  off  enough  to 
fill  a  one-litre  glass  stoppered  bottle,  after  filtering  through 
absorbent  cotton.  Keep  adding  the  iron  to  the  jar  until  the 
strength  of  each  bath  is  reached.  To  the  strongest  solution 
add  half  a  drachm  of  C.  P.  muriatic  acid,  and  to  the  weakest 
half  a  drachm  C.  P.  nitric  acid ;  the  nitric  acid  is  added  so 
that  in  the  last  biting  a  good  final  nip  is  given  to  the  copper. 

I  here  give  my  own  formula,  with  those  recommended  by 
others. 

The  four  (4)  baths  should  be  well  aired  for  a  day  (in  broad 
pans)  in  the  open  air  before  filtering. 


34  PHOTOGRAVURE. 

FORMULA  FOR  ACID  BATHS. 
(H.  R.  BLANEY.) 

No.  i  should  register  to  Beaume's  scale 42  deg. 

No.  2      "  "        "        "  "    37  deg. 

No.  3      "  "        "        "  "    33  deg. 

No.  4      "  "        "         "  "    30  deg. 

The  temperature  of  the  bath  to  be  at  63  deg.  Fahr.  when  tested. 

(DENISON'S.) 

No.  i  should  be  made  to  register  Beaume's  scale,  45  deg. ,  the  percentage 
of  perchloride  in  this  solution  is  47,  and  the  specific  gravity  1.444. 

No.  2,  40  deg. ;  percentage,  41  ;  spec,  grav i-375 

No.  3,  38     "  "  38;  "        1.339 

No.  4,  35     "  35;  "        1.313 

No.  5,  27     "  "  27;  "        1.225 

From  an  article  in  the  Photographic  News  (English),  Nov.  i,  1889,  as 
practiced  in  India. 

BITING  BATH. 
(WATERHOUSE.) 

No.  i,  sp.  grav.,  .444;  ap.  per  ct.  of  FeE,Clg  = 47 

No.  2,        "  .375;  "  "  41 

No.  3,        "  .339;  "  38 

No.  4,        "  .313;  35 

No.  5,        "  .225 ;  "  "  27 

A  stronger  solution  of  48  deg.  has  been  tried  (by  the  above)  but  has 
no  penetrating  power  through  even  the  thinnest  film. 

ANOTHER  FORMULA. 

For  large  plates,  20  Ibs.  perchloride  of  iron  and  distilled  water,  until 
weight  amounts  to  1.500  grammes  per  1000  c.c.  From  this  four  (4) 
solutions  are  made,  at 

No.  i,  42  deg.  Beaume;  spec,  grav 1.420 

No.  2,  38     "  "  " 1.375 

No.  3,  35     "  "  "        1.330 

No.  4,  31     "  "  "        1.285 

The  plate  is  now  ready  for  biting.  Keep  a  record  of  the 
bitings,  and  length  of  time  for  each  one,  for  after-study;  also 
note  the  time  of  exposure  of  the  tissue,  age  of  same,  etc.,  etc. 


THE  ACID  BATHS. — HOW  TO  MAKE  THEM.          35 

Pour  the  acid  from  a  glass  graduate  with  one  sweep  over 
the  plate,  removing  all  bubbles  with  a  feather,  noting  the 
time  of  immersion  so  as  to  guide  you.  Start  with  42  deg., 
having  ready  the  37  deg.  in  another  graduate,  watch  carefully 
the  action  of  the  acid,  and  if  the  resist  has  been  properly 
printed,  the  action  of  the  acid  will  show  after  a  minute ;  if 
longer  it  means  a  generally  longer  biting  for  each  bath. 

AVERAGE  BITINGS. 

42  deg.,  No.  i 5  minutes 

37  deg. ,  No.  2 5  minutes 

33  deg. ,  No.  3 2  minutes 

30  deg. ,  No.  4 2  minutes 

Temperature  of  bath  at  70  deg.  Fahr.,  with  No.  103  tissue. 

Total  of  different  bitings,  from  10  to  25  minutes,  according 
to  depth  of  printing.  It  always  varies.  There  is  no  hard 
and  fast  rule  ;  yon  must  in  time  learn  to  judge  by  your  eye 
alone.  The  acid  will  first  attack  the  thinnest  part  of  the 
film,  wherever  that  may  be,  and  when  the  darkening  of  the 
copper  ceases  to  spread  to  the  next  thickest  parts,  instantly 
pour  off  the  acid,  and  pour  on  the  37  deg.  Do  not  allow  the 
atmosphere  to  act  on  the  gelatine  while  biting  any  longer 
than  is  necessary  to  pour  off  one  bath  and  quickly  pour  on  a 
new  one.  The  37  and  33  deg.  baths  are  for  the  middle  tones, 
the  30  deg.  for  the  most  delicate  ones.  The  action  of  each 
bath  is  cumulative,  the  37  deg.  biting  a  little  where  the 
42  deg.  had  bitten,  the  33  deg.  doing  the  same  for  those 
before  it,  besides  taking  care  of  itself,  and  the  30  deg.  attacking 
all  more  or  less.  During  the  biting  with  the  30  deg.  solution, 
it  should  be  continued  until  the  whites  just  turn  color,  and  a 
minute  beyond  ;  that  is,  the  copper  should  begin  to  show  a 
very  little  under  the  thickest  and  darkest  film. 

(Note  that  in  the  carbon  resist  the  shadows  are  transparent 
and  the  high  lights  are  opaque.) 


36  PHOTOGRAVURE. 

The  length  of  the  last  biting  very  seldom  is  over  two 
minutes.  It  is  better  to  overbite  your  darks,  and  underbite 
your  lights,  if  you  vary  any. 

The  amount  of  moisture  in  the  air  and  the  heat  of  the  day 
influences  the  length  of  biting.  In  hot  weather  in  summer 
it  is  very  difficult  to  work  the  process,  the  walling  wax  being 
discarded  and  the  copper  (back  and  edges  protected  by 
varnish)  placed  in  a  porcelain  tray,  surrounded  by  ice-water 
and  kept  at  65  to  70  deg.,  and  the  acid  pured  over  the  plate 
to  the  depth  of  one  inch. 


CHAPTER  VII. 

CLEANING  AND  POLISHING  THE  PLATE,  WITH  TOOLS  NECESSARY 
FOR  RETOUCHING. 

WHEN  the  biting  is  finished  rapidly  place  the  plate  under 
the  tap  and  rinse  thoroughly,  breaking  away  the  film  with 
your  fingers ;  it  seems  to  have  rotted  under  the  action  of  the 
acid  and  is  easily  removed. 

Remove  the  walling  wax,  clean  off  the  varnish  with  chloro- 
form or  turpentine,  or  alcohol  first,  and  chloroform  last.  This 
leaves  a  dim  picture  on  the  plate,  with  a  kind  of  scum  over 
it;  wet  the  plate  with  turpentine  and  start  heavily  with  rouge, 
rubbing  to  and  fro  equally  all  over  the  plate  with  a  ball  of 
absorbent  cotton  ;  continue  this  treatment,  using  less  and 
less  rouge  and  more  turpentine  until  you  give  the  final  polish 
to  the  high  lights  with  a  clean  dry  piece  of  cotton.  Be  very 
careful  not  to  overdo  in  rouging  ;  the  scum  (if  the  biting  of 
the  plate  is  of  medium  strength)  should  clear  from  the  plate 
with  hardly  a  touch,  and  with  very  little  rouging.  Some 
plates  require  a  great  deal  of  rouging ;  it  then  generally 
means  that  you  must  look  to  your  sensitizer.  I  again  draw 
your  attention  to  the  rouging ;  here  is  where  any  artistic 
feeling  you  may  possess  will  come  into  play  with  taste  and 
patience. 

After  the  plate  is  rouged  sufficiently,  an  engraver's  bur- 
nisher is  used  to  clean  up  the  highest  lights  and  to  modify 
others.  Two  or  three  roulettes  of  different  fineness  are 
valuable  to  touch  up  any  darks  that  need  deepening ;  it 
matches  very  well  with  the  grain,  but  I  am  always  trying  to 
dispense  with  the  use  of  the  roulettes ;  one  ought  to  get  it 
with  the  acid  alone.  A  No.  6  sewing  needle  in  a  holder 


38  PHOTOGRAVURE. 

(dentist's  pin-holder,  screw  end)  is  necessary  to  touch  out 
occasional  white  specks.  You  will  have  plenty  of  them  at 
first  unless  you  look  out  carefully  for  dust  on  the  film  ;  keep 
all  your  solutions  constantly  attended  to  by  occasional  filter- 
ing, and  don't  use  your  sensitizing  solution  more  than  half  a 
dozen  times  ;  keep  it  well  corked  ;  if  it  gets  old  it  scums  the 
plate  too  much. 


CHAPTER  VIII. 
PRINTING  THE  PLATE  AND  STEEL  FACING. 

BEFORE  final  finishing-  by  hand  a  working  proof  should  be 
printed  from  the  plate  by  an  expert  plate  printer,  by  which, 
what  the  plate  needs  can  be  determined  before  final  proving. 

Have  the  plate  proved  on  different  papers,  and  with  dif- 
ferent colored  inks,  so  as  to  judge  the  effect.  Imperial  Japan 
is  the  best  paper,  besides  etching  paper,  India,  thin  Chinese 
and  Japanese  papers.  The  cost  of  proving  per  single  proof 
is  25  cents  for  a  4x6  plate  on  Imp.  Japan,  about  $2.00  per 
doz.  same  paper;  etching  paper,  about  $5.00  per  100 — less 
for  large  quantities. 

A  second-hand  D  press,  suitable  for  printing  large  or  small 
editions  or  for  proving,  can  be  bought  in  Boston  or  New 
York  for  from  $75  to  $100.  For  instructions  in  printing  see 
Hamerton's  "Etchers  and  Etching." 

STEEL  FACING. 

The  life  of  a  photogravure  plate  without  steel  facing  does 
not  last  much  beyond  75  impressions,  so  that  if  an  edition 
is  needed,  send  the  plate  to  any  good  printer  who  will  have  it 
steel-faced  for  you  ;  their  charges  are  very  moderate,  about  50 
cents  for  a  4x6  plate.  The  steel-facing  is  accomplished  by 
first  making  the  plate  chemically  clean,  as  before  preparation 
for  graining,  only  be  very  thorough  in  using  an  old  tooth-brush 
to  get  out  the  dirt  and  in  addition  use  chloroform  before  using 
potash.  Then  solder  a  copper  wire  on  to  the  back.  The  negative 
wire  is  attached  to  the  copper  plate.  To  the  positive  pole  of  the 
quart  Smee  battery  is  fastened  a  bright  steel  plate  same  size 
of  copper,  in  a  gallon  jar.  The  plates  are  hung  from  glass 


40  PHOTOGRAVURE. 

rods  Y-2,  inch   apart,  a  sufficient   quantity  of  the  following 
solution  to  be  poured  into  the  jar  : 

(DENISON'S.) 

Warm  water 20  ounces 

Ammonium  chloride  3  ounces 

Sulphate  of  iron  and  ammonia 4  ounces 

Filter,  and  let  stand  for  24  hours.     Five  (5)  minutes  will 
cover  the  plate  with  a  thin  film  of  steel. 

(OBERNETTER'S.) 

"Place  the  copper  plate  in  a  porcelain  tray  on  the  bottom 
of  which  rests  a  brightly  burnished  copper  wire,  the  negative 
pole. 

"  The  anode  on  the  positive  pole,  a  bright  steel  plate,  is  sus- 
pended over  the  copper  plate,  and  kept  in  motion  while  the 
circuit  is  closed.  A  precipitate  of  steel,  resembling  silver  in 
appearance,  must  instantly  occur  upon  the  copper  plate,  any 
air-bells  to  be  removed.  Five  minutes  is  sufficient  to  deposit 
a  perfect  steel  coating."  Grease  the  plate  after  steel  facing, 
to  keep  off  the  rust.  Formula  : 

(OBERNETTER'S.) 

Distilled  water i  litre 

Chloride  of  ammonium 60  grammes 

Proto  sulphate  of  iron 30  grammes 

Iron  alum 30  grammes 


CHAPTER  IX. 

MATERIALS  NECESSARY  FOR  PHOTOGRAVURE,  AND  Lisi   OF 
FIRMS  SUPPLYING  THEM. 

Materials. 

PRINTING  FRAME  (deep),  8  x  10,  screw  pressure,  $8. 

Roll  Carbon  Tissue,  No.  100 ;  Standard  Brown,  $3. 

Johnson  Actinometer,  $1.25. 

Beaume  Hydrometer,  $1.25  (with  glass). 

Silver  "  (argentometer)  750. 

Engravers'  Scraper,  $1.75,  best  grade. 
"  Burnisher,  11.75,     " 

Powder  Box  for  graining  (paste-board),  $i. 

Powdered  Syrian  Asphaltum,  $i  per  pound. 

Nine  (9)  pounds  Perchloride  of  Iron  (C.  P.  crystals),  45C. 
per  pound. 

Stick  Rouge,  2oc. 

Turpentine,  2oc.  (refined). 

Alcohol  (95  per  cent.). 

Modeling  Wax,  $1.25. 

One  Ps.  Scotch  Stone,  25 c. 

One  dozen  Glass  Blowers'  Charcoal,  $2.oc  per  dozen  sticks 
(for  polishing'  copper). 

One  pound  Absorbent  Cotton,  5oc. 

One  pound  Caustic  Potash  C.  P.  (sticks). 

One  Porcelain  Tray,  deep,  n  x  14,  $3.50. 

One  Florence  Hand  Lamp,  75C. 

One  Squeegee. 

Three  Roulettes,  $1.50  each. 

Hand  Vise,  75C. 


42  PHOTOGRAVURE. 

Calipers,  500. 

Dairy  Thermometer,  250. 

One  bottle  Etchers'  Varnish,  500. 

One  ounce  Chloroform,  2oc. 

Six  ounces  Bichromate  Potassium. 

One  pound  Concentrated  Ammonia. 

LIST  OF  FIRMS  SUPPLYING  MATERIALS  FOR  PHOTOGRAVURE. 

The  Scovill  &  Adams  Co.,  423  Broome  Street.  Photographic 
Materials  and  Photo- Engravers'  Supplies. 

Messrs.  Bestgen  &  Co.,  1001  Washington  Street,  Boston, 
Mass.  Polishers  of  Copper  Plates. 

Mr.  George  Schard,  116  Wooster  Street,  New  York.  Pol- 
isher Copper  Plates. 

Mr.  Jos.  Wheeler,  299  Washington  Street,  Boston,  Mass. 
Printer  of  Photogravures. 

Messrs.  J.  H.  Daniels  &  Co.,  Oliver  Street,  Boston,  Mass. 
Printers  of  Photogravures. 

Messrs.  Frost  &  Adams,  Cornhill,  Boston,  Mass.  Engravers' 
and  Etchers'  Supplies. 

Messrs.  F.  W.  Devoe  &  Co.,  Fulton  Street,  New  York. 
Engravers'  and  Etchers'  Supplies. 

Messrs.  Fusch  &  Lang,  29  Warren  Street,  New  York. 
Engravers'  Supplies. 

Mr.  Alfred  Sellers,  58  Fulton  Street,  New  York.  Engravers' 
Supplies  (screw  pressure  printing  frames). 

Messrs.  John  Sellers  &  Sons,  17  Dey  Street,  New  York. 
Engravers'  Supplies. 

Messrs.  Eimer  &  Amend,  i8th  Street  and  3d  Avenue,  New 
York.  Chemists,  Glassblowers  Charcoal. 

Messrs.  Theodore  Metcalf  &  Co.,  Tremont  Street,  Boston, 
Mass.  Chemists. 

Messrs.  Kimmel  &  Voigt,  242  Canal  Street,  New  York. 
Expert  Photogravure  Printers. 


LIST    OF    FIRMS.  43 

Messrs.  Whitely  &  Co.,  Centre  Street,  New  York.  Polisher 
of  Copper  Plates. 

Messrs.  Gilderslieve  &  Co.,  i8th  Street,  New  York.  Blankets 
for  Press. 

Mr.  Charles  Creedner,  19  South  William  Street,  Room  4, 
New  York.  Japan  Paper. 

Mr.  Geo.  B.  Sharp,  13  Baxter  Street,  New  York.  Copper 
Plates. 

Messrs.  F.  A.  Ringler,  21  Barclay  Street,  New  York.  Steel 
Facing  Copper  Plates,  Printers  of  Photogravures. 

Messrs.  Leidel  &  Co.,  901  6th  Avenue,  corner  5ist  Street, 
New  York.  Modeling  Wax  ;  Etchers'  Supplies. 

Thomas  Hall  (Electrician),  Bromfield  Street,  Boston,  Mass. 
Hydrometers  (Smee's  Battery),  etc. 

New  York  Steel  and  Copper  Plate  Co.,  171  Wallabout 
Street,  Brooklyn,  N.  Y. 

Mr.  Jas.  Moffet,  159  Wooster  Street,  New  York.  Copper 
Plates  in  the  Rough. 


CHAPTER  X. 

BOOKS  AND  ARTICLES  ON   PHOTOGRAVURE.     PUBLISHED  FROM 
1888  TO  1893. 

LA  PHOTOGRAVURE  facile  et  a  bon  marche.  Par  1'Abbe 
Ferret.  Paris.  1889.  Price,  i  fr.  25  cents. 

Manuel  d'Heliographie  et  de  Photogravure  en  Relief. 
Par  G.  Bonnet.  1890.  Paris.  2  fr.  50  cents. 

Photogravure.  By  W.  T.  Wilkinson.  1890.  London,  E.  C. 
Published  by  Messrs  Iliffe  &  Son,  3  St.  Bride  Street.  Price, 
is.  6d. 

Photo-Engraving  and  Photo-Etching.  By  W.  T.  Wilkin- 
son. Sold  by  The  Scovill  &  Adams  Co.,  New  "York.  Price, 
$3.00. 

Hamerton's  "Etchers  and  Etching."  Roberts  Bros.,  Bos- 
ton, Mass.  Price,  $4.00. 

Photo-Etching  in  India.  Article  in  PJiotcgraphic  News 
(English),  November  i,  1889. 

"  Photogravure,  or  Photographic  Etching  on  Copper."  By 
Herbert  Denison.  A  lecture  delivered  before  the  Photo- 
graphic Society  of  Great  Britain.  Printed  in  THE  PHOTO- 
GRAPHIC TIMES,  April  2ist,  1893,  and  following  issues. 

Photogravure  or  Photo-Etching.  Article  in  Wilson's 
Magazine,  1890-1891. 

Notes  on  Phcto-Aquatint.  Catalogue  of  Exhibition,  Il- 
lustrating the  Reproductive  Arts  and  Photo-Mechanical 
Processes.  Address  S.  R.  Koehler,  Boston  Art  Museum, 
Boston,  Mass. 


Merck's  Pyrogallic  Acid 


will  be  found,  upon 
comparison,  to  be 
superior  in  every 
respect  to  all  other 
brands  on  the  mark- 
et. Its  distinctive 
points  of  superiori- 
ty are: 

IST.-ABSOLUTE  PURITY 

2D.-PERFECT  CRYSTALLIZA- 
TION 

SO-IMMACULATE  WHITENESS 

4TH.-EXTREME  LIGHTNESS 

5TH.-MODERATE  COST 

(Its  price  is  not  higher 
than  that  of  any  other 
make.) 


Merck's  Pyrogallic  Acid 

produces  the  highest  intensity  to  be  desired  in  a  photogra- 
phic plate,  and,  at  the  same  time,  the  finest  detail  in  light 
and  shade  required  for  the  most  perfect  printing  negative. 

Under  ordinary  precaution,   it  retains  all  its  superior 
qualities  undiminished  for  an  indefinite  length  of  time. 


ORDERING    SPECIFY     <*  MERCK'S." 

TO  BE  HAD  OF     JJ  L  L      DEALERS. 


TESTIMONIALS. 


"  I  have  tested  Merck's  pyro  carefully  in  comparison  with  the  other 
pyros  at  present  on  the  market,  and  I  find  that  it  is  superior  to  any  and 
all  of  them." 

Prof.  CHARLES  EHRMANN, 
Instructor  of  the  Chautauqua  School  of  Photography. 

"  I  shall,  in  future,  certainly  use  no  other  pyro  but  Merck's.  The 
best  is  always  good  enough  for  me." 

ALFRED  STIEGLITZ, 
Editor  American  Amateur  Photographer. 


"  Merck's  Pyrogallic  Acid  will  be  found  a  very  superior  article.  Its 
purity  is  absolute,  with  quick  crystallization  and  immaculate  whiteness. 
In  use,  it  produces  the  highest  intensity  that  can  be  desired  in  the  neg- 
atives. The  detail  in  light  and  shade  is  perfect,  producing  printing 
qualities  unsurpassed  by  any  pyro  we  have  ever  usef" . " 

ST.  Louis  AND  CANADIAN  PHOTOGRAPHER. 


"  Merck's  pyro  has  undergone  a  severe  test  in  my  hands.  I  find  it 
to  possess  many  qualities  which  give  it  superiority  over  all  other  makes. 
Authorities  place  the  solubility  of  pyro  as  one  part  in  two  of  water. 
I  found  one  ounce  of  Merck's  to  dissolve  readily  in  1:7  of  water  at  60°. 
It  is  extremely  light,  pure,  and  of  a  fine  white  color,  giving  rich  neg- 
atives full  of  vigor  and  sparkling  brilliancy." 

"WALTER  E.  WOODBURY, 

Editor  of  The  Photographic  Times. 


"  I  have  used  Merck's  Pyrogallic  Acid,  and  prefer  it  to  all  others." 

B.  W.  KILBURN, 

Official  Photographer  (Stereoscopic),  at  the  Columbian  World's  Fair,  and 
San  Francisco  Mid- Winter  Exposition. 


"  I  have  tried  Merck's  pyro  and  must  certainly  say  it  is  the  best  I 
ever  used.     The  results  I  have  obtained  with  it  are  remarkably  fine." 

W.  B.  POST, 
Amateur  Photographer,  New  York. 


MORENO  STUDIO,  Fifth  Ave.,  New  York. 

"  I  have  been  using  Merck's  pyro  in  my  studio,  and  am  very  well 
pleased  with  it.  It  is  clean,  gives  brilliant  negatives,  and  is  reliable, 
one  day's  work  being  exactly  the  same  as  another's." 

A.  MORENO. 

"  I  have  been  using  Merck's  pyro,  and  am  ready  to  indorse  the  high 
praise  which  you  have  found  it  entitled  to  :  'that  it  is  superior  in  point 
of  purity,  lightness  and  solubility '  to  any  like  product  that  I  have  seen. 
In  fact,  '  the  new  and  improved  process '  seems  to  reach  in  its  result 
the  point  beyond  which  it  is  impossible  to  go — that  is,  perfection.  This 
was  my  impression  at  first  sight,  and  using  serves  only  to  confirm  it. 

In  my  opinion,  pyro  stands  at  the  head  of  all  developers  of  dry 
plates,  and  I  am  much  mistaken  if  Merck's  pyro,  when  known,  does  not 
lead  all  brands  of  pyro." 

W.  H.  SHERMAN, 
Professional  Photographer,  Milwaukee. 


— Scovill  &  Adams  Photo-Engraving  Materials,— 

Combined  in  a  small  outfit  for  Half-tone  Photo-Engraving. 

The  articles  contained  in  this  outfit  are  all  that  is  necessary  for  the 
Half-tone  Process,  excepr  when  the  installation  of  large  and  expensive 
machinery  is  warranted. 


i  10x12  American  Optical 
Co.  Enlarging, Reducing 
and  Copying  Camera, fit- 
ted with  Patent  Screen 

Plate  Holder $56  oo 

i  Camera  Swing 20  oo 

i  Copy  Board 2  oo 

i  Max  Levy  Screen,  133  lines 

to  the  inch,  IQX  12 So  oo 

i  Max  Levy  Screen,  isolines 

to  the  inch,  10x12 95  oo 

1  Rectilinear    Lens,   Rapid 

Paragon,  10  x  12,  w.  D. .   68  oo 

2  2-qt.  Funnels,  glass,  250..         50 
6  8-oz.         "  "       I2C. .         72 

1  pkg.  No.  33  Filtering  Paper        75 

2  Hydrometers,  soc i  oo 

2  11x14  Glass  Baths  in  Stu- 
dio Box,  $7 14  co 

i  Rubber  Dipper 60 

1  2-gall.  Evap.  Dish 3  oo 

2  ioxi2PorcelainTrays,Si.66  332 
2  ioxi2VulcaniteTrays,$i.7S  3  50 

2  16-02.  Graduates,  750 r  50 

4  4-02.                          3oc i  20 

19x11  Printing  Frame,  i-in. 

glass 9  50 

1  8  x  10  Retouching  Frame. .  375 

2  large  Neg.  Racks 6  oo 

i  i3-in.  French  Hand  Roller  7  oo 

1  Composition  Roller,  i2-in.  4  oo 

2  Pincers 2  oo 

2  Acid  Brushes 3  50 

i  Ink  Spatula i  oo 

i    Hook    for    cutting    Zinc 

Plates i  50 

Retouching  Brushes 50 

1  gal.  Absolute  Alcohol 4  oo 

ZYZ  Ibs.  Ether 2  63 

402,  Pary's  Gun  Cotton,  soc.  2  oo 

4  oz.  Iodide  Potass.,  300 i  20 

2  oz.  Resubl.  Iodine,  350. ...  70 

3  Ibs.  Nitrate  Silver  Crystal, 

*  $8.50 25  50 


i  Ib.  Absorbent  Cotton,  i  Ib. 

packages $o  75 

5  Ibs.  Protosulph.  Iron,  ice.  50 

i  Ib.  Citric  Acid  70 

i"    Bichloride  Mercury i  oo 

5  "    Cyanide  Potash 3  25 

i  "    Glycerine 30 

5  b'ks  Blue  Litmus  Paper,  50.  25 

i  Ib.  Aqua  Ammonia  fort. . .  32 

Yz  Ib.  Nitric  Acid,  C.  P 45 

i  gall.  Benzole i  50 

i  Ib.  Bichromate  Ammonia.  75 

i  "    Caustic  Potash 15 

8  "    Com'l  Nitric  Acid,  450.  3  60 

i  "    Ferri  Chloride,  i  bot. ..  30 

i  "    Rubber  Cement,  i  can.  30 

i  "    Nitrate  Lead,  i  bot.. . .  i  oo 

i  "    Ferricyan.  Potash,  i  bot.  i  co 

^"    Transfer  Ink 250 

%"    Engraver's  Charcoal. .  i  50 

1  "    Pumice  Stone 10 

5  "    Sulphate  Copper,  400. .  2  oo 

2  "    %-in.  Brass  Pins,  400. .  80 

1  •'    Lith.  Ink,  black 3  50 

2  galls.    Le   Page's  Liquid 

Glue,  $2.25 450 

i  Shoot  Board  and  Plane. . .  25  oo 

i  set  Engraving  Tools i  50 

i  "  Finishing  !'  2  50 

i  J^-in.  Flat  File 50 

i  i-in.  "  85 

i  set  Ass'd  Sable  Pencils, 

Nos.  i  to  6 62 

i  Darlot  Focusing  Glass 2  50 

i  s-in.  Engraver's  Pad,  filled  i  oo 

i  Egg  Beater 30 

i  set  Roulettes 6  oo 

i  ream  Proof  Paper 10  oo 

i  i6-oz.  plain  Collodion  Vial  55 

i  Ib.  best  Dragon's  Blood. . .  85. 

Polished  Zinc  Plates,  sq.  in.  or 

"         Copper  "          "  01% 


SEND  FOR  THE  PHOTO-ENGRAVERS'  CATALOGUE  TO 

THE  SCOVILL  &  ADAMS  CO.,        -        423  Broome  St.,N.Y. 


Copying  Cameras 


PHOTO-ENGRAVING. 


The  Scovill  Enlarging,  Reducing  and  Copying 
Cameras. 

With  S.  &~A.  Photo-Engravers'  Adjustable  Screen  Plate  Holder. 


No.  61.  Size,  6^x8^.  4ft.  bed Price,  $38  oo 

"  62.  "  '8  x  10,  5  ft.  bed "  43  oo 

"  63.  "  10x12,  5       "       "  5600 

"  64.  "  ii  x  14,  5       "       •'  68  oo 

"  65.  "  14x17,6       "       "  8000 

"  66.  "  17x20,7       "       "  95oo 

• '  67.  "  20  x  24 ,  7       "       '  1 1 8  oo 

Special  sizes  and  styles  made  to  order. 

The  form  of  construction  of  this  Camera  is  made  apparent 
by  the  illustration  here  shown. 


SCOVILL 

COPYING   CAMERAS 

With  S.  &  A.    Photo-Engravers'  Adjustable  Screen  Plate  Holder. 


These  Cameras  are  made  of  hardwood,  shellacked,  not 
varnished.  Naturally  they  are  without  swing,  but  in  every 
requisite  they  are  complete;  and  for  this  particular  service, 
as  well  as  others,  the  American  Optical  Company's  make  is 
sought  for  before  all  others.  Such  varied  lengths  of  bed  are 
required  and  ordered,  that  we  can  only  give  a  price  list  for 
Copying  Cameras  with  the  regulation  length  of  bed.  We 
make  them  to  order  of  any  length  of  platform  desired,  either 
rigid  or  detachable,  and  with  either  single  or  double  bellows. 

Estimates  promptly  and  cheerfully  furnished. 

No.  70.     6>£  x  S%,  with  bed  3  feet  in  length Price,  $33  oo 

"      71.       8xio,  "        3^  "  "         3800 

72.     10x12,  "         4  "  "         4600 

"     73.    11x14,  "       4!^        "         "       5300 

"      74.      14x17,  "         5  "  "         6600 

"      75.     17x20,  "         6  "  "         7200 

76.     20x24,  "         6  "  •. "         9800 

Larger  sizes  made  to  order. 

When  ordering  Copying  Camera,  please  give  length  of  cone,  if  that  is 
needed. 


The  S.  &  A.  Photo-Engravers'  Adjustable  Screen 
Plate  Holder. 


(Patent  applied  for.) 

This  Holder,  as  is  shown  in  the  cut  above,  is  a  great  improvement  over  any  heretofore 
manufactured  for  photo-engraving  putposes.  Its  principal  points  of  superiority  are, 
briefly: 

First.— The  ease  with  which  it  is  adjusted  for  different  size  plates  and  screens,  by  a 
simple  sliding  movement  of  the  two  inside  frames  to  or  from  the  centre,  and  thus  dispens- 
ing with  the  expensive  and  troublesome  use  of  kit  frames. 

Second.— The  convenience  by  which  the  screen  plate  is  accurately  adjusted  to  the  sensi- 
tized plate  by  means  of  the  metallic  sliding  adjusters.  (Heretofore  it  has  been  necessary 
to  do  the  adjusting  by  means  of  inserting  different  thicknesses  of  cardboard,  paper,  etc.) 

Third.— Different  thicknesses  in  the  screen  plates  are  allowed  for  by  means  of  a  spring 
which  always  holds  the  plate  in  accurate  place,  no  matter  what  its  thickness  may  be. 

Fourth. — A  graduated  scale  on  each  screen  adjuster  makes  it  easy  to  aiways  insure  ab- 
solute accuracy  in  determining  the  distance  of  the  screen  plate  from  the  wet  plate. 

Fifth.— The  simplicity  of  construction  and  excellent  workmanship  of  the  entire  holder, 
being  made,  as  it  is,  in  the  faccory  of  the  famous  American  Optical  Company. 

And,  altogether,  it  is  an  ingeniously  designed  and  beautifully  constructed  holder, 
which  will  be  found  of  indispensable  aid  to  the  practical  photographer. 

These  holders  are  thicker  than  the  ordinary  plate  holders,  and  if  it  is  desired  to  use 


them  on  a  camera  the  ground  glass  of  which  is  focused  for  the  ordinary  plate  holder,  a 
new  ground  glass  f  tame  is  necessary  in  order  to  adjust  the  focus.  When  ordering  a  holder 
i  fit  a  camera  in  use.  send  the  old  holder  or  the  old  ground  glass  frame,  so  that  the  new 


ones  can  be  made  to  fit  the  camera      Also  state  the  size  of  largest  and  smallest  screen  plate 
to  be  used  in  holder. 

It  is  made  in  various  sizes.    Prices  as  follows  :  Frames  only; 

for  Ground  Glass. 


8x10  size $15  50 

21    OO 

26  50 

29  oo 

32  50 

36  oo 

40  75 


iox  12  "     

n  x  14  " 

14x17  "     

17x20  "     

18x22  "     

20x24  "       

If  adjustment  from  the  outside  of  holder  is  desired,  add  $2 


$1    50 
I    50 

1  88 

2  25 
2    63 

2  63 

3  oo 


>  to  above  prices. 


THE  SCOVILL  &  ADAMS  CO.,  423  Broome  St.,  New  York  City. 


The  Scovill  Printing  Frames  for  Photo-Engraving. 


The  Printing  Frames  made  by  the  Ameri 


The  American  Optical  Co.  Printing  Frames  for  photo-engraving  are  the  only  safe 
ones  on  the  market. 

PRICES. 

8  x  10,  including  one-inch  glass $8  oo    I   ii  x  14,  including  one-inch  glass $13  oo 

10x12,  "     ii  02        14x17,  "     1900 

QX  ii,  "     9  50    I 

Larger  and  special  sizes  made  to  order. 

5 


To  Photo  Engravers  : 

Having  systematically  undertaken  the  improvement  of 
photo  engravers'  appliances,  we  follow  the  S.  &  A.  Photo 
Engravers'  Adjustable  Screen  Plate  Holder,  and  the  S.  &  A. 
accurately  adjusted  Photo-Engraving  Printing  Frames,  with 
the 

5.  &  A. 

Piioio-Epning  fictiinp  TDD, 

to  which  we  call  the  attention  of  those  interested  in  this 
business.  We  extend  to  them  a  cordial  invitation  to  ex- 
amine the  same  at  our  salesrooms. 


These  Photo-Engraving  Etching  Tubs  will  "  fill  a  long 
felt  want "  with  the  photo  engravers,  as  they  are  constructed 
so  as  to  resist  the  strongest  acids,  and  combine  the  features 
suggested  by  practical  experience. 

The  tub  measures,  inside,  48^  inches  long,  20^  inches 
wide,  and  7^6  inches  deep,  and  the  price  of  same  is  $10.00. 

Very  truly  yours, 

The  Scovill  &  Adams  Co. 

6 


IN  OLDEN  TIMES 

people  were  satisfied  to  worry  along  with  whatever 
crude  appliances  came  easiest  to  hand 

£be  material  progress  of  the  nineteenth  century, 
however,  has  created  a  demand  for  a  higher  order 
of  mechanical  products  than  was  formerly  deemed 
essential,  and  this  is  peculiarly  the  case  with  .  .  . 


Jbrocese  J£n$ravers. 


HO  meet  tbiS  Demand,  the  firm  of  JOHN  ROYLE  & 
SONS  have  devoted  the  best  part  of  their  time,  for 
the  past  25  years,  to  the  improvement  of  the  me- 
chanical accessories  to  Process  Engraving,  and  with 
what  success  is  best  testified  to  by  the  fact  that  their 
machinery  is  used  exclusively  by  the  best  Process 
Engravers,  both  in  the  United  States  and  abroad. 

JOHN   ROYLE  &  SONS, 

Paterson,  N.  J.,  U.  S.  A. 


Photo=Gelatine. 


Chrome-Gelatine  is  a  perfected  modification  of  the  three-color  print- 
ing process.  It  is  so  named  from  the  Gelatine  process  of  printing  being 
used  to  produce  the  resulting  pictures,  which  are  allowed  to  be  really 
wonderful,  and  which  maybe  reproductions  from  original  Oil  Paintings, 
Water-colors,  Views  from  Nature,  Objects  of  Still  Life,  Textile  Fabrics 
— indeed,  all  classes  of  work  copied  from  originals  in  color.  The  re- 
sults, in  all  cases,  are  produced  from  three-color  negatives.  Artists, 
whose  works  have  been  reproduced  by  this  method,  express  their  satis- 
faction of  the  results  in  the  highest  terms,  without  qualification. 

N.  Y.  Photogravure  Co. 

137  West  23d  Street, 
New  York. 


Photogravure  ^L  Aquarelle 

(Photogravure  in  Colors.) 

Photogravures  are  of  all  classes  of  subjects. 

An  important  modification  of  this  process  has  recently  been  per- 
fected (patent  applied  for),  by  which  the  delicacy  of  the  gelatine  print  is 
maintained,  at  the  same  time  that  great  strength  and  color  is  produced 
in  the  shadows.  The  plates  thus  made  are  very  durable,  and  show  but 
little  wear  after  many  thousands  of  impressions  have  been  produced. 
Moreover,  they  require  no  finishing  or  handling  after  having  been 
etched,  and  are  quite  easily  printed. 

Aquarelles  are  printed  from  photogravure  plates,  inked  up  locally 
in  a  variety  of  colors.  When  the  whole  of  the  plate  has  been  so  inked, 
the  impression  is  pulled.  The  results  are  beautiful,  but  the  process  of 
printing  is  exceedingly  slow — three  or  four  impressions  a  day,  only, 
being  obtainable  from  a  moderate  sized  plate. 

N.-  Y.  Photogravure  Co. 

137  West  23d  Street, 
New  York. 


Publications 


HE  N.  Y.  PHOTOGRAVURE  CO.  has  on  hand 
-L  thousands  of  subjects  of  all  classes,  available  for  the 
purposes  of  illustration,  and  at  the  service  of  its  customers. 
The  newest  and  best  subjects  are  being  continually  added 
to  this  collection.  Sets  of  illustrations  selected  with  the 
greatest  care  and  skill,  for  any  desired  purpose. 


The  N.  Y.  Photogravure  Co. 

137  West  23d  Street, 

New  York. 


ANB  SriABE. 


As  Artistic  Periodical. 
Published  Monthly. 

Forty  cents  a  number.  Four  dollars  a  year.  Each  number  contains 
eight  exquisite  Photogravures,  Photo-  gelatines  or  Color  Prints,  by  the 
new  Chrome-gelatine  process,  printed  on  paper  11  x  14  inches,  with  de- 
scriptive letter-press.  Six  volumes  are  now  complete,  price  $4.00  each. 
Each  volume  contains  nearly  one  hundred  plates.  The  whole  six  vol- 
umes form  a  complete  gallery  of  current  art. 

"  SUN  AND  SHADE  reproduces  not  only  the  most  notable  paint- 
ings and  portraits,  but  the  best  work  of  amateur  and  professional  pho- 
tographers. If  it  gave  nothing  but  the  latter  work  it  would  be  deserving 
of  the  most  liberal  patronage  that  it  receives  ;  but  it  is  an  admirable 
record  of  the  greatest  paintings  at  the  Metropolitan  Museum  of  Art,  of 
living  American  players,  of  portraits  of  celebrated  Americans,  of  great 
American  painters,  with  reproductions  of  their  work,  and  it  is  a  monu- 
ment of  the  N.  Y.  Photogravure  Co.,  which  is  a  monument  of  artistic 
New  York." 

The  N.  Y.  Photogravure  Co. 

137  West  23d  Street, 
New  York. 


ALFRED  SELLERS  &  CO. 

MANUFACTURERS  OF 

COFFER™  PLATES 


%**%*%%%%%%%%% 

FOR  — 


Printing  Frames,  Etching  Tubs, 

Etching  Powders,  Rollers,  Etc. 

SELLERS'    SPECIAL    TRANSFER. 
ETCHING    AND    PROVING 


Inking  Slabs,  Chemicals  (Chas.  Cooper  &  Co.'s),  Formu- 
las, and  all  Supplies  for  Photo-Engravers. 


Photo- Engraving  Taught 

IN  ALBUMEN,  BITUMEN,  OR  THE  ENAMEL  PROCESS. 

TRYTHENEW  RUSSELL  ETCHING  POWDER, 

Supplies  in  General.  Send  for  Price  List. 

59  Beekman  Street,  New  York,  N.  Y. 
u.  s.  A. 

10 


6CWCKEffiM 


63  WEST  22®  STREET* 


VvORKS  bROoKLY/i.  MY 


7THE  FAVORABLE  COMMENTS  received  from  all  sources  testify 
^^  to  the  unrivaled  results  obtained  by  the  PHOTOGRAVURE  PROCESS, 
as  worked  by  our  method, 

In  reviewing  a  set  of  photogravures  of  the  Clifton  Water  Garden, 
from  negatives  by  the  proprietor,  Mr.  S.  C.  Nash,  the  Florists'  lEx- 
change,  says  : 

"  In  his  work  he  has  been  ably  seconded  by  Messrs.  E.  C.  Meinecke 
&  Co.,  of  New  York,  the  makers  and  printers  of  the  plates.  Without 
fear  of  contradiction,  we  state  there  is  no  method  of  reproducing  a 
picture  to  compare  with  the  photogravure  process,  except,  possibly,  the 
expensive  and  tedious  steel  plate.  For  fidelity  to  detail,  sharpness  of 
outline,  contrast  of  light  and  shadow,  breadth  and  depth,  and  absolute 
fidelity  to  life,  we  choose  this. 


TKe  Photogravure 


75  THE  BEST  FOR 

UOQ^   Illustrations 


and   ^rade 


Calendars,  TVl^nus,   fitc, 

where  the  most  artistic  results  are  desired.     Either 

RL7STES    SURRL-IED 

combining  the  BEST  WEARING  QUALITIES  with  the  most  Artistic 
Finish,  or  editions  ready  for  the  binder. 


Your  correspondence  is  solicited,  and  a  trial   order  requested,  which 
will  be  executed  promptly  and  in  the  best  manner. 


AMATEURS ! 

In  order  to  get  the 

Best.  Results 


You  must  use  the 


CRAMER  PLATE 


Manufactured  by 


G.  Cramer  Dry  Plate  Works, 


St.  Louis,  Mo. 


Your  Dealer  does  not 

KEEP 

Cramer  Plates, 

he  SELLS  them. 


If  you  want  to 


secure 

the  best  Photogravure 

results, 


Then  you  must 


.use  tha  best  plates, 
and 
these  are 


Wuestner's 

-White  Label" 
50  Sens. 

Plate. 


WUESTNKR'S 
New   Eagle   Dry   Plate  Works. 


For  Sale  by  all  Dealers. 
13 


OUR  BUSINESS''^ 
EVERYTHING  USED  IN 
^%  PHOTOGRAPHY 


SHUE1Y  CO. 


FATE  ST.    CHICAGO. 


Photogravure  Worker. 


Have 

you 

tried 


THE  ORIGINAL 


NO? 

BETTER  DO  SO  AT  ONCE. 

THE  SCOVILL  &  ADAMS  CO. 
HAVE  THEM  ! 


ZEISS- 
ANASTIGMAT 

LENSES 

Manufactured  by 

BAUSCH  &  LOMB 

OPTICAL  GO. 

ARE  UNAPPROACHED  for  all 
Process  Work,  and  are  rapidly 
displacing  other  forms  of 
Lenses, 

,  Rochester,  N,  Y,, 

New  York  City,  Fulton  Tliassau  Sts. 


515-543 

N.  St.  Paul  Street 


PHOTOGRAPHIC1, 
TOES 


'AN-ILLUSTRATED 

DEVOTED-TO-THE 
INTERESTS-OF- 
lARTISTIC&SCIENTIFIC 
PHOTOGRAPHY 


THE-PHOTOGRAPHIC-TIHES-PUBLISHING 
|ASSOClATION-i23-BKOO.nE-STREET-\KW-yOKK 


EDITRD    BY 

WALTER   E.  WOODBURY. 


Each 

number 

contains 

from 


50 
"60 

Illustrations! 


besides  a  magnificent     :::::::.: 

PHOTOGRAVURE   FRONTISPIECE. 


The  Most 

"up  to  date" 


Bbbotocjrapbic 


in  the  world. 


ALLTHE  BEST  AND 

LATEST  IMPROVEMENTS  CHRONICLED  BY  THE  BEST 
WRITERS. 

Reproductions  of  all  the  finest  photographic  work 
from  all  parts  of  the  world.    -------- 

16 


A  FEW  UNSOLICITED  OPINIONS  OF 


"  It  is  a  daisy."  —  Hon.  A.  A.  ADEE. 

"  It  is  a  veritable  triumph  of  photographic  literature."  —  J.  J.  CARTER. 

"  One  of  the  finest  illustrated  magazines  received  by  us  is  THE 
PHOTOGRAPHIC  TIMES,"  —  Chenan&o  Telegraph. 

"  If  my  opinion  is  of  any  value,  I  will  tell  you  that  it  is  far  and 
away  ahead  of  anything  that  has  ever  been  attempted."  —  H.  J,  AIKKN. 

"You  have  certainly  reached  the  very  height  of  possibilities  in  a 
photographic  magazine."  —  ARTHUR  J.  BENTON. 

"The  photographic  art  has  hitherto  had  no  better  exponent,  and 
the  publishers  of  this  magazine  are  determined  to  keep  at  the  head  of 
the  literature  of  their  profession  The  many  original  articles  are  fully 
illustrated."  —  The  Portland  Transcript. 

"Be  sure  and  continue  sending  it.  Can't  keep  house  without  it.  " 
—  J.  E.  CRAIG. 

"  It  is  a  beauty  in  every  sense."—  CHAS.  WAGER  HULL. 

"The  subject-matter,  the  number  and  quality  of  the  illustrations, 
the  typographic  work  and  the  general  appearance  of  THE  PHOTOGRAPHIC 
TIMES,  monthly,  are,  separately  and  collectively,  cause  for  hearty  con- 
gratulation. Permit  me  to  hereby  extend  mine,  together  with  sincere 
wishes  for  your  continued  success."  —  C.  D.  CHENEY. 


189 

The  Photographic  Times  Publishing  Association, 

423  Broome  Street,  New  York,  N.  Y. 
Please  send  me  The  Photographic  Times,  commencing 

with 189    ,  for.. 

to  my  address : 

Name, 

p.  o., 

County, 

State, 

Subscription  rates,  one  year,  $4.00;  six  months,  $2.00;  three  months, 
$1.00;  single  copies,  35  cents. 

Remit  by  Express,  Money  Order,  Draft,  P.  O.  Order,  or  Registered 
Letter. 

Subscriptions  to  THE  PHOTOGRAPHIC  TIMES  received  by  all  dealers 
in  photographic  materials  in  this  and  foreign  countries;  also  by  The 
American  News  Company  and  all  its  branches. 


Photographic 

*.  • 


increases  by  what  it  feeds  on.     The  beginner 

is  usually  content  to  start  with  a  modest  outfit, 

bnt  as  interest  grows  the  hunger  for  more  ar- 

tistic results  calls    for 

better  facilities  so  that 

the     apparatus     must 

constantly  be  of  a  more 

improved  pattern  and 

contain   all  the    latest 

fixings,  till  finally  the 

question    of    improve- 

ment is  entirely  one  of 

the  value  of  the  lens. 

To  suit  this  growing 
appetite  we  make  a  line 
of  camera  boxes  une- 


4x5  Size 

The  Empire, 

$5.00 

The  New  Waterbury, 

$15.00 

The  Henry  Clay  ad, 

$15.00 

The  Waterbury, 

$25.00. 


The  Henry  Clay,  Jr. 

$30.00 

qualed    for   workman-         ^.      TT  ^, 

ship    and    convenient        The  Henry  Clay, 

$50.00 

appliances.       We    can 

supply    any    stage    of 

hunger,  and  make  to  order  to  suit  any  whim. 

Any  photographic  question  cheerfully  answered. 

Send  for  our  Catalogue. 

The  Scovill  &  Adams  Co. 

423  Broome  Street,  New  York. 

18 


flNTHION -SGHERING 

The  Best  Hypo  Eliminator. 


DIRECTIONS  KOR  USE. 

THE  SOLUTION. 

Five  grammes  (75  grains)  Anthion  are  dissolved  in  one  litre  (one 
quart)  of  luke-warm  distilled  water.  The  solution  keeps  for  at  least 
one  month. 

A.    For  Gelatine  Plates. 

a.  The  plate  (13x18  centimetres — 5x7  inches)  or  film,  after  fixing,  is 
allowed  to  drain  and  then  washed  for  about  five  minutes  in  a  dish  with 
about  600  cubic  centimetres  (20  fluid  ounces)  water;  it  is  then  again 
allowed  to  drain. 

b.  Afterward  it  is  laid  in  a  second  dish  with  200  c.c.  (7  fluid  ounces) 
Anthion  solution,  and  again  allowed  to  remain  for  five  minutes  with  oc- 
casional stirring. 

c.  The  plate  is  then  once  more  laid  in  600  c.c.  (20  fluid  ounces)  fresh 
water,  exactly  according  to  direction  a. 

d.  The  operations  b  and  c  are  repeated. 

The  plate  is  then  free  from  fixing  SOda.  (In  order  to  determine  this, 
proceed  as  follows :) 

Test. 

To  be  certain  that  all  the  fixing  soda  is  completely  destroyed,  pro- 
ceed as  follows  :  Several  c.c.  (half  to  one  teaspoonful)  of  the  last  wash- 
ing water  are  poured  into  a  test-tube,  and  three  or  four  drops  silver 
nitrate  solution  (1  to  20)  added.  A  white  precipitate  generally  forms. 
If  this  gradually  acquires  a  yellow  tint,  fixing  soda  is  still  present. 

In  such  a  case  operations  a  and  b  are  to  be  repeated. 

B.    For  Positive  Paper  Prints. 

The  operations  are  carried  out  as  under  A,  but  instead  of  one  plate 
five  fixed  copies  (13x18  c.c. — 5x7  inches)  are  taken,  allowed  to  drain  one 
by  one,  then  laid  singly  in  water  (vide  a),  afterward  in  Anthion  solution 
(vide  b),  then  again  in  water  (vide  c),  again  in  Anthion  solution  (vide  d). 
and  finally  in  water. 

ESP  It  is  important  that  the  paper  prints  are  frequently  separated  in 
the  different  baths.  If  the  prints  stick  together,  the  solution  does  not 
penetrate  and  cannot  act. 

=  IMPORTANT  - 

For  large  plates  and  prints  it  is  not  only  necessary  to  use  larger 
dishes,  but  also  more  liquid,  both  Anthion  solution  and  water.  An 
excess  of  Anthion  or  of  water  is  decidedly  useful,  but  less  is  disadvan- 
tageous. 

The  above  directions  for  washing  relate  to  those  who  have  no  con- 
tinual flow  of  water  at  hand. 

If  a  continual  flow  of  water  is  obtainable,  it  is  advisable  to  wash  the 
plates  or  prints  in  flowing  water  for  a  quarter  of  an  hour,  and  then  dip 
in  the  Anthion  solution  and  test  the  result  as  above. 

Send  orders  to  your  Dealers,  or  to 

The  Scovill  &  Adams  Co.,     -     -      -      New  York. 

19 


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